Searching MTV for a Sharper Cutting Edge

MTV’s “120 Minutes,” the late-Sunday alternative to the music channel’s regular programming, began offering edgier artists than the prime-time fare of Michael Jackson and Bon Jovi some 12 years ago. Several pop trends after its inception, how relevant is the concept of “120 Minutes”?

The aesthetic, if not the anti-establishment mind set, of underground culture now represents the norm in pop culture (e.g., body piercing, tribal tattoos, vintage clothing), and the supposed new underground--electronica--hasn’t quite fulfilled its promise as the next wellspring of raw creativity. Even “Amp,” a newer MTV program featuring electronic artists, is bogged down by too many amateurish, quasi-psychedelic videos and fairly forgettable songs.

This leaves “120 Minutes” with the task of defining who is pushing the pop envelope. Recent “120” episodes have reflected the confusion over just what is cutting-edge in ’98 by continuing to feature established artists--Blur, the Foo Fighters, Beck.

But a few new artists are tucked in among these videos. Are they part of a new cutting edge in pop music, or do they simply bleed into the nebulous world of alternative mainstream? Maybe this look at “120 Minutes” fare by Sound & Vision, which rates music videos on a scale of 0-100, will make it all clear.

Fatboy Slim, “Out of My Head.” Fatboy Slim’s addictive single, which rides atop the familiar rhythm and stinging guitar work of the Who’s “Can’t Explain,” is found blaring out of an ‘80s style boombox in this Doug Aitken-directed video. The gargantuan radio passes from person to person (either through theft or the law of finders keepers), eventually leading to an old-school hip-hop party, where break dancers pop and lock and Fatboy Slim spins records in the background. This video is both grittily real and cartoon colorful, and is able to keep up with the song’s vital pace and sense of party fun. 85

Roni Size & Reprazent, “Brown Paper Bag.” Everyday urban scenes are changed into otherworldly happenings thanks to the rewind-play-rewind effects. The scenarios--a shop owner chasing shoplifters, an arguing couple throwing a TV through an apartment window, a baby carriage full of stolen items toppling over--never play themselves out, but instead stay stuck replaying in mid-action. The flawless, precise execution of the effects creates a parallel universe that seems to defy time and gravity. Perhaps the point is that the forgetful human race repeats its bad behavior ad nauseam--but there is hope. The video ends with the cycle breaking: The carriage spills out on the ground, the television finally smashes on the sidewalk. 81

The Crystal Method, “Keep Hope Alive.” The L.A.-based electronic duo’s video involves another 007-like chase scene. While last summer’s “Trip Like I Do” found them guarding some sort of secret mixing board formula in a black briefcase, this song, from the “Replacement Killers” soundtrack, finds them surveyed by a seedy pack of spies as they play at a decadent dance party. The club scenes are intercut with “action-packed” moments from the movie. The Crystal Method slips through streets and alleys, outwitting and finally foiling the villains. Corny and somewhat cliched, this video scores just for placing these two ultra-normal guys as superhero protectors of the underground rave. 68

Hum, “Comin’ Home.” Part performance video, part groovy, non sequitur imagery, this Illinois quartet’s clip is as unassuming and simple as its indie-rock sound. Chilly scenes of icecaps and a begoggled girl in a parka and fabulous red lipstick are intercut with the somewhat geeky-looking band banging away on stage. There isn’t much to this video or song--both are easy and pleasant and fairly non-thought-provoking. Hardly groundbreaking, “Comin’ Home” provides a little float-away space between “120 Minutes’ ” more demanding and annoying (see next) videos. 52

Smash Mouth, “Why Can’t We Be Friends?” From the band that brought you the omnipresent hit “Walking on the Sun” comes a ska rendition of this 1970 classic by War. The video isn’t quite as clumsy as the band’s inept version, but it doesn’t exactly make up for a lame performance with dazzling effects or imagery. Picking up where the band’s cool hit video left off, it uses overblown color and very Americana scenery and characters. In a cheap, lounge-type setting, Smash Mouth plays to patrons who ooh and aah over the band’s prowess, trying hard to make us believe that someone would actually be impressed by this sorry interpretation. 39

Stereophonics, “Traffic.” This video gets points off from the get-go for being filmed on overexposed Hollywood Boulevard. Defeated L.A. stereotypes--a flamboyant drag queen, a Norma Desmond look-alike--pass Stereophonic’s bland-looking singer as he wonders, “Is anyone going anywhere?” The literal acting out of the cliched lyrics is embarrassing, not to mention insulting to a seasoned video-watcher’s intelligence. This has the feel of a bad ‘80s concept video, while the song itself drowns in pained, self-indulgent ‘90s sentiments. 29