Recently, my friend Peter (who runs Manvertised) posted a link to the 120 Minutes Archive on Facebook. Some folks, like my friend Susan and maybe you, were way ahead of me on this one. But that didn’t keep me from squealing with glee over an evolving database of the music videos featured on MTV’s indie/underground music program. And it certainly fills a void that Pre-Durst never satisfied.
My family had cable intermittently throughout my childhood. The period in my life when having cable mattered to me was between sixth and eighth grade, which was a strange but glorious end of alternative rock and the music video era. Between 1993 to 1996, Sunday night was the couch potato highlight of my week.
I learned about 120 Minutes from my stepbrothers, who were also into Yo! MTV Raps, Headbangers Ball, and Alternative Nation. Though I knew that the show’s history stretched back into the mid-1980s, I only followed MTV’s left-of-the-dial video program in the mid-1990s. I had a television in my bedroom and no siblings to fight over the remote. As I’ve outlined previously, 120 Minutes was a big part of my Sunday night music geek routine. I’d burrow deep into bed and try to stay awake so I could absorb as much as possible. Without 120 Minutes, I might never have encountered Sonic Youth’s “Little Trouble Girl” or Cibo Matto’s “Know Your Chicken.”
And while I’d be short-sighted if I failed to notice the hip musical acts the network was pushing, I also wouldn’t know about bands like Helium, L7, Luscious Jackson, that dog., Lush, and many other hallmark bands of the period, much less pledge my allegiance to college radio.
The show informed the feminist development of this music geek. For me, the program is seventh grade. Seventh grade me, like many seventh grade girls, was a disaster. I was painfully shy but wanted to be involved with theater and, briefly, cheerleading. I painted my nails black but chewed until my cuticles bled. I was chubby, but primarily ate as a defense mechanism (in high school, I ate very little so I could be “pretty”). I had a hopeless crush on a popular boy who lived in my neighborhood, and would ride my bike by his front yard when he wasn’t home. I wanted to run with the eighth grade burn-out girls, but they wouldn’t hang. I could count my friends on one hand, and was often made fun of for being a fat kid. I cried most days when I came home from school, and usually before. When 8th grade came around, I made myself into a smart overachiever with a schedule packed with extracurricular activities. I also shopped at “preppy” retailers like the County Seat and starting eating a lot less. In short, 13-year-old me vehemently denied the existence of 12-year-old me.
Of course, 12-year-old me always existed and I still carry her with me. As I grew older, I learned to accept her and, thinking about my adolescence during modern rock’s last days, I really love her now. For one, I had style. I wore tiaras, pajama bottoms, and alligator slippers to school. I dressed up as Cleopatra for the Halloween dance when everyone else wore Yaga and shuffled to Hootie. My socks never matched. I toted around a Batman lunchbox I got from a thrift shop while visiting my father in Florida the summer before I started junior high. I wore six barrettes at a time like a rainbow. I asked my friend Kyle’s dad for all of his corduroys and cut them to fit me. I paired mechanic shirts with silver platform Skechers. I got made fun of for it, but I rocked that look.
And 12-year-old me may have run with a small group, but they were good, reliable people. Like the protagonist’s friends in Dyan Shelton’s Tall, Thin, and Blonde, they always saved a seat for me at our lunch table. And even when some of us grew apart during high school, we could still catch up whenever we saw each other. Plus, I had a cool slightly older stepbrother who’d play songs on his bass to cheer me up and make collages with me out when he’d visit. And I had a mom who gave me hugs, talked all the shit out with me, and took me to the park to scrawl out my angst on pieces of scrap paper so that I could burn them.
12-year-old me was also starting to develop good taste in music and already knew about some rad ladies. Sure it was shaped by corporate entities pushing of-the-moment artists signed to major labels and subsidiaries that took my allowance money. Rolling Stone and MTV were chief offenders. Spin was also starting to get my attention with their alternative record guide, though at this point I was unaware of college radio or downloading music and thus had to imagine what The Raincoats or Beat Happening sounded like. But I had an open mind and was learning how to record songs off the radio. Later, I’d reject nu metal on principle, have my own radio show, go to a bunch of concerts, read a lot of books, write a thesis on the Directors Label series, and put this thing together. Thanks, 120 Minutes. More importantly, thanks Alyx at 12.
As someone who works at an archive, I also appreciate the efforts independent, motivated people have made to preserve this important part of a network’s programming history and make it available to people, especially as it is now unrecognizable from its origins. The history major in me also appreciates being able to explore the rest of the series that I missed and gain a better sense of the show’s context.
There’s some stuff I miss that the archive doesn’t have. I wish the episodes were available in full, particularly the ones that featured musical guests as hosts. Things got really unpredictable and exciting when an act, or a few available band members, or two tangentally related musical artists shared space together (fans may remember Thurston Moore smashing a phone with Beck). I also liked when a band showed off their hometown, as Soul Asylum did when giving viewers a tour of Minneapolis during a 1995 taping. I liked guessing which music videos the artists’ picked out themselves and watching them grate against the latest Tripping Daisy or Frente! clip. These moments really gave viewers a larger sense of who the people were behind the records.
Most of all, I liked the show’s liveness — staged, pre-taped, or otherwise.
Because when the Johns from They Might Be Giants announced the 10th anniversary show, I felt like they were singing just to me.
And there’s plenty of other MTV programming that folks could archive. In addition to the music programming I outlined above, I’d love to see footage of Courtney Love’s 24-hour MTV2 takeover.
So while I’m happy about this archive, I’d treasure viewing fans’ VHS recordings of the show even more. As Charles R. Acland observed in his wonderful Flow column about video’s obsolescence and how media scholars must address the resultant loss of history, these tapes give us indications of a program’s text, its supertext, and the recorder’s preferences and practices. Something tells me there’s a Clearasil ad in one of those tapes and, with it, the ephemera and long-buried memories of its viewers.