#vh1s pop up video

[90s-2000s-barbie]

VH1 Pop Up Video (1996 - 2002) 📼

[dandyads]

Pop Up Video, 1997

[specific90saesthetics]

[tomandgeriatric]

I want Pop-up Video to come back. i loved that shit.

Also i want shows like "I love the 80s/90s/00s etc" but about specific genres of music/movies/tv etc.

[kontextmaschine]

In retrospect Pop Up Video was pretty significant for giving me context to what I had absorbed as a child in the 80s.

[donnahinkleystaceytroy]

[yourheartinyourmouth]

and it was amazing

[ifuckinghatecrocs]

This is sending me badd😭

[theoraclej]

every time i sing “it’s prime video” to the pop-up video song from vh1 back in the day

[doyoulikethissong-poll]

Blur - Coffee & TV 1999

"Coffee & TV" was written by Blur's guitarist, Graham Coxon, who also sang lead vocals rather than frontman Damon Albarn (whom later started another little band; the Gorillaz). Coxon wrote the song about his struggle from alcoholism, and how after giving up drinking he would unwind by watching television over a cup of coffee instead and writing songs. This experience also contributed to his first solo album, The Sky Is Too High. "Coffee & TV" reached #11 in the United Kingdom and #26 in Ireland. It was a major hit in Iceland, where it peaked at #2. The song's musical style is an anomaly in comparison with the rest of 13, appearing similar to Blur's earlier, Britpop days. The single edit of the song also appeared on Blur's Best Of compilation, released in 2000, and featured on the Cruel Intentions soundtrack.

The super-cute music video featured a sentient milk carton known as "Milky" searching for Coxon, who appeared as a missing person's face on its side. The video won several awards in 1999 and 2000 including Best Video at the NME Awards and the MTV Europe Awards. In 2002, the video was ranked the fourth best video of all time by VH1. In 2005, it was voted the 17th greatest pop video of all time in a poll by Channel 4. In 2006, Stylus Magazine ranked it No. 32 in their list of the Top 100 Music Videos of All Time. In a similar poll, NME ranked it the 20th greatest music video of all time. The model of Milky, as used in the video, was sold at an auction of Blur memorabilia in 1999. When Blur played at the London 2012 Olympics Closing Concert Celebration at Hyde Park, fans who bought a Blur T-shirt on the day were given a free replica milk carton of Milky. The video is seen on Season 3, Episode 11 of The Sopranos in which Anthony Jr is watching the music video on MTV. Some tumblrinas might recognize Milky as gifs from an ancient tumblr post. "Coffee & TV" received a total of 55,9% yes votes.

[trivialbob]

Who remembers VH1's Pop Up Video?

The first run was from 1996 to 2002. That was when when VH1 (Video Hits One) and MTV (Music Television) played actual music videos.

Wikipedia describes the show: Pop Up Video is a VH1 television show that shows music videos annotated via "pop-up" bubbles — officially called "info nuggets" — containing trivia and witticisms relating to the video in question.

I'm not into music like a lot of people. Those pop up bubbles made the videos way more interesting to me.

I thought of this last night. Sheila and I watched a few episodes of The Bear on Hulu.

Carmy and Sydney use their tweezers, electron microscopes and diamond-cutting tools to get morsels of unique ingredients shaped and perfectly placed.

But what are those ingredients? I recognize peas in the pod. But that red drizzle? I've yet to see a Heinz bottle in the background. I can discern a scallop. That red marbled block? Is it Wagyu beef or strawberry-vanilla fudge? Little circles floating in orange liquid? They ain't SpaghettiOs.

We have subtitles turned on. That's helps some. I pause the show at times to look up food names I don't recognize.

Some pop up info nuggets would add 72% more enjoyment to the show for me by telling me what various food nuggets are.

[tmbgareok]

New best quality rip of the music video for Boss of Me on VH1’s Pop Up Video!

[bakedbakermom]

@randomfoggytiger's ask for the emoji thing got me thinking. i write a LOT of notes in the margins - for me, for my betawife - none of which you guys ever get to see, but which sort of feel like director commentary (or the old pop-up video show on vh1, to date myself horribly).

would anyone be interested in something like a zine where you would get a physical copy of the fic with those notes printed alongside the text? either a specific story, or a little collection with a few of them?

[90s-2000s-barbie]

So I grew up with like wayy older parents, hippies. When I was a baby and kid, we grew up with MTV on in the house 24/7. Like I was watching beavis and butthead as my cartoons with a binky my in my mouth and it never changed. I grew up loving it too. They have LOTS of recorded VHS tapes of music from MTV and VH1 so we could watch all the best stuff so when reality tv kicked on, we’d pop in a vhs. They taped all their favorite music performances, live and music videos. They did that since MTV first aired. They taped moments like the announcement of Kurt Cobain’s death. They taped us all on a camcorder watching Nirvana unplugged on mtv all day.

I live for the old MTV content though. I hooked up my old VHS and I’m going through a bunch of recordings all for the first time in years. I taped a bunch in the 2000’s too as I grew up. The show “I love the 90’s” from vh1. I taped my own music. We have content that isn’t even on YouTube or archived for that matter.

People tell me you were born in 93. You don’t have any clue about the 90’s. Dude, it’s my life. Ok, I wasn’t alive for a couple years big freaking deal. I may not remember some things like you cause you were older or something. So our memories aren’t going to be the same cause I was a legit child! Lol I’m the butt of the joke in the family for remembering to much. I mean I remember it all. What I was doing, music, who was around, what was happening, smells, feels. I remember EVERYTHING. I remember being a baby in my car seat going to my grandmas. Looking out the car window and only being able to see the roofs of the houses as we drove by. Pulling up to my grandmas. I knew where we were going. I remember how excited. Like u don’t know me. lol Maybe you don’t have memories like that but I do. I bet lots of people do too.

To talk about music again for a second, 1990’s music is my LIFE in particular though. I always wanna post more 90’s on this blog but I just feel like no one is gonna know this or care. Lol Not just 1990’s, having hippie parents we grew up almost in a different time than everyone else I knew. Like we were always years or decades behind. Lol

I love to archive tho on here and share. ❤️ Even if it’s so I don’t forget these memories. I wish I could archive all this old music tho too because, we have tapes. years worth. Needs to be shared one day.

[girlreviews]

Review #263: Tracy Chapman, Tracy Chapman

You don’t get artists like Tracy Chapman come along too often, and it’s infuriating when they do, because you see the same old shit play out. People are threatened by their mere presence and the idea that they can make something so incredible, but especially that it might give marginalized people a voice. This record came out the year I was born, so it’s approaching its 36th birthday. It’s both unsurprising and also a little devastating at how relevant it remains in 2024. I’ll start by saying: I love it, her, I always have, and I have so many memories attached to this record. Some so sad and some really sweet, all really tender.

But I have something to say about both music critics and general white fragility when it comes to Tracy. Here’s a 1988 review from renowned critic Robert Christgau, self proclaimed “Dean of American Rock Critics” (are American rock critics some kind of authority too? Why’s that? Interesting.):

"Fast Car" is so far-seeing, "Mountains o' Things" so necessary, that it's doubly annoying when she puts her name on begged questions like "Why" and "Talkin' Bout a Revolution." Maybe I should be heartened and so forth that Intelligent Young People are once again pushing naive left-folkie truisms, but she's too good for such condescension--even sings like a natural. Get real, girl. B MINUS”

Where to begin? Firstly, that is the entire review. So you want to talk about condescension, Robert? You can start by referring to Tracy Chapman as a grown woman, which she is, and was, in 1988. And critic you may be, but you’ve never written a review that’s even half as good as Talkin’ Bout A Revolution, which is more relevant today than any of your writing. Why was about apartheid. Maybe you had the luxury of not giving a fuck. Assigning grades? B minus? Get real, boy.

Curious what grade you gave Paul Simon’s Graceland, an album recorded during apartheid, some in South Africa with an array of African musicians who he then toured with. This was both criticized and praised. The point is, it was very political, not in content so much, but in creation. So, when it’s done by an egotistical white man? Listen, I love Graceland but don’t think I won’t be looking into that with some serious side-eye. OH WHAT A FUCKING SURPRISE, PAUL SIMON’S 1986 GRACELAND RECEIVED AN A. Fuck all the way off, and then fuck off some more.

This album isn’t for you. Has it ever occurred to you that not every piece of music was made to be consumed by you? And to be declared worthy by you? Jesus fucking Christ, the audacity. She’s singing about poverty, the kind most people will never truly know. The traumatic kind. She’s singing about domestic violence, you know, the kind typically perpetrated by men against women and that too often takes their lives. She’s singing about a tense relationship with the police. She’s singing about escaping dire situations with a glimmer of hope that she might finally belong, that she might finally “be someone”… Only to find herself in seemingly just as dire ones. Do you relate, Robert? Let’s go back to 1988 and you just sit this one out. To be clear, it’s not entirely for me either! But when you have that awareness, you can hear something and still appreciate it. It’s not that hard.

Fast Car was still on the radio a good bit when I was growing up, and again, I think my Mom played this record from time to time. But my real connection to Tracy Chapman came to me in two different ways: VH1’s Pop Up Video, which I watched every single day before I went to school. Over and over, the same episodes. There was an episode that featured Fast Car, and I remember just being floored by the little facts that popped up. Her life had been so unbelievably difficult, with challenge after challenge — which is pretty damn clear in the song. The thing I always remember is that as a young girl, she had saved up her money to buy a guitar, and then her best friend stole it. As stupid as it sounds I think about that all the time. Anyway, this song is special, and everyone knows it, it’s massive, but it’s something different to everyone. Can anyone relate specifically to what she’s describing? Probably somebody, somewhere. Maybe lots of people. But I can tell you that I listened to this song curled up in my bed pretending to be asleep with tears streaming down my face. Wishing that some parts of it weren’t true for me, and wishing that some parts of it were. It’s both a gut punch and a cup of tea between my cold hands.

The second way was Baby Can I Hold You, which, and this kind of cracks me up, was covered by Irish boyband Boyzone in the 90s. Little baby me was pretty into Boyzone, but eventually learned that the original artist was Tracy Chapman. Obviously, her version is better. It hurts my feelings. Is it someone declaring their feelings? Or is it someone communicating the experience of an emotionally unavailable partner, and the words they long to hear? Either way, there’s an ache in it, and it’s beautiful.

Tracy Chapman has been having a major resurgence, because a white male country artist covered Fast Car and as a result an entire new generation of young people are being moved by it. While I kind of wish there wasn’t a cover like this at all, it’s been nice to see Luke Combs give Tracy Chapman the spotlight she deserves and make it her moment. They seem to have a sweet and thoughtful relationship, and he truly loved the record when it came out. He had it on cassette. It was really something to see Tracy on stage at the Grammys smiling, thriving, looking beautiful as ever and singing with that voice just shutting everybody the hell up. I also appreciate that he kept the genders the same in his cover. I’d love to know whether he chose that or whether she insisted upon it. Either way, it was the right call.

Chances are you’ve heard Fast Car, and maybe even Baby Can I Hold You. Don’t be a dweeb, this record is significant and I really believe you’re missing out if you go through your life without listening to it, but it’s your call. I’d like to personally thank Tracy Chapman and VH1’s Pop Up Video for their contributions to my life and the content of my brain. I love you both so very much.