Which Music Video Was Set In Sri Lanka?

Which Music Video Was Set In Sri Lanka
During the 1980s, when music videos were just beginning to gain popularity, the band Duran Duran traveled to Sri Lanka to shoot the music videos for their songs “Save a Prayer,” “Hungry like the Wolf,” and “Lonely in your Nightmare.”

Which station is a subsidiary of MTV?

Principal Subsidiary Corporations MTV Music Television, VH1, and Nickelodeon are the three principal subsidiaries that make up MTV Networks. MTV Networks’ primary competitors are the many television and cable networks that carry music programs and programs geared toward youngsters.

Which song had the first music video played on MTV quizlet?

Which video did MTV play as the channel’s very first offering? The song “Video Killed the Radio Star” by The Buggles.

What was the first Michael Jackson video on MTV?

Which Music Video Was Set In Sri Lanka MTV broadcasted for the first time the whole 13-minute version of Michael Jackson’s “Thriller” music video for the first time on December 2, 1984, exactly 33 years ago today. Today, December 2, marks the occasion of the first broadcast of the entire 13-minute version of Michael Jackson’s “Thriller” music video on MTV.

This event occurred 33 years ago. The record reached its highest position on the Billboard Hot 100 in 1984 at position No.4, and it also peaked at position No.3 on the chart of Hot R&B/Hip-Hop Songs. After Michael Jackson passed away in 2009, the song made its way back into the Billboard rankings, where it now sits at position number two on the Hot Digital Songs chart.

Srilanka viral song, Mr. Interesting

The same year, the video was recognized for its “cultural, historical, or artistic” significance and was given a place of honor in the National Film Registry of the Library of Congress. It was the first music video in the history of the institution to be given this distinction.

Why did MTV stop playing videos?

Why Did MTV Stop Playing Music Videos? There are many reasons why MTV, also known as Music Television, stopped playing music videos. Some of these reasons include competition from other television networks, short-form content, a small audience, a lack of new content, and the emergence of new platforms such as YouTube and social media apps.

Due to all of these factors, MTV was forced to adopt a new strategy in order to continue existing. MTV did not abruptly quit airing music videos but rather done so gradually over the course of a protracted process. MTV began broadcasting programming other than music videos during the end of the ’90s, which is when the shift began to take place.

The first time was a combination of music video clips and segments from other reality programs. While the length of time spent on music videos continued to decrease over the years, the space devoted to reality television programs continued to expand. This transition was necessary for MTV mostly because of financial considerations.

  • The environment was shifting, and it became increasingly difficult for a cable TV station to maintain its status quo by continuing to air music video segments lasting only four or five minutes round-the-clock.
  • MTV began developing a variety of reality shows to draw the public for longer periods of time, with the goals of increasing viewer ratings and the revenue generated from ads.

These goals were ultimately successful, since MTV is still broadcasting to this day.

What was the first music video?

Some people believe that Joseph Stern and Edward Mark developed the first music video in 1894 when they synced a recording of their song “The Little Lost Child” to a moving slide display and sold it as a “illustrated song.” This might be considered the earliest example of a music video.

What was the first music video on MTV?

The song “Video Killed the Radio Star” by The Buggles was the very first music video to ever be broadcast on MTV. Consumers’ rallying cry of “I want my MTV” became a mantra for them to repeat to themselves despite the difficulty of obtaining the channel’s distribution.

Which was the first hip hop video played on MTV?

After MTV had been broadcasting for three years, in 1984, the music video for Run-song D.M.C.’s “Rock Box” was the first rap music video to be played on the cable television network.

Who was the first black artist to have highly successful MTV music videos?

The music video for “Billie Jean,” which was the first video by a Black artist to garner considerable rotation on the network, was the one that made it possible for other musicians of color to be included on MTV.

What is the longest music video ever?

Which Music Video Was Set In Sri Lanka CNN — Twenty One Pilots have successfully established a new record for the lengthiest music video in the history of the medium, with their clip clocking in at just over 4,264 hours. The song “Level of Concern” was published by the pop band in April. The band is well known for their popular song “Stressed Out.” Two months later, the pair made the announcement that they were going to make a music video for the song that they dubbed a “never-ending” music video.

The music film would use content that fans would contribute onto a website. The completed project was uploaded to YouTube as a continuous live feed. The song would play in a continuous loop, and each time it began again, fresh fan videos would surface. This would create the “never-ending” music video that was meant to be the result.

However, everything did come to an end in the end. After a staggering 117 days, 16 hours, 10 minutes, and 25 seconds — beginning on June 21 and finishing on December 16 — the crew finally pulled the plug, and the Guinness World Records organization confirmed that they had broken the record.

Which is the best selling record in HIStory?

The best-selling album is Thriller by Michael Jackson, which is believed to have sold more than 70 million copies all over the world.

How old would Michael Jackson be today?

If Michael Jackson were still alive today, how old would he be? – Michael Jackson’s 62nd birthday was on August 29, therefore he would be 62 years old today if he were still alive. He passed away on June 25, 2009. But tragically, the singer passed away on June 25, 2009, leaving his admirers in a state of mourning.

Intoxication with acute levels of propofol and benzodiazepines was determined to be the official cause of death. READ ON FOR MORE: Michael Jackson’s kid, Blanket, wants to know: “What does he look like now?” What age is he exactly? Jackson was getting ready to play at the Staples Center in Los Angeles, and the night before he passed away, he had attended a practice for the show.

On the contrary, Jackson was discovered the following morning in his bedroom not breathing and unresponsive. His doctor, Conrad Murray, claimed that he began performing cardiopulmonary resuscitation (CPR) on Jackson before shouting to a chef for security and additional assistance.

Murray claimed that he was unable to call the emergency services on his mobile phone because he did not know the address of the hotel. In the end, a call to emergency services was sent at 12:21 p.m., which was confirmed by a spokeswoman for the Los Angeles Fire Department. After that, paramedics arrived at Jackson’s location at 12:26 p.m.

and discovered that he was still not breathing at that time. More than forty minutes of cardiopulmonary resuscitation were done on him before he was transported to the hospital in an ambulance. It was 1:14 p.m. when he got at the hospital, and the medical staff worked to revive him for more than an hour until they declared that he had passed away at 2:26 p.m.

  1. The official report from the coroner in Los Angeles said that he had been murdered in August of that year, which is when the dispute surrounding his death began.
  2. Prior to this taking happening, a number of autopsies had already been conducted, and none of them had revealed any signs of foul play.
  3. DON’T MISS Conrad Murray, Jackson’s physician, was eventually charged with involuntary manslaughter due to the fact that he had administered medicines to Michael Jackson on the evening before he passed away.
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On February 8, 2010, Murray was charged with Jackson’s death because it was thought that Jackson had died as a result of a huge dosage of propofol, which is a general anesthetic. The testimony presented at the trial revealed that propofol, in concert with other medicines that were found in Jackson’s system, had played a significant part in the musician’s passing.

In 2011, a jury determined that Murray was responsible for the crime, and he was subsequently given a sentence of four years in jail. On October 28, 2013, after serving his sentence for two years, he was finally freed for good behavior. During the course of the trial, his ability to practice medicine and provide powerful sedatives to patients was revoked, and it has stayed that way up until the present day.

After Jackson’s death, he was survived by three children: Prince, Paris, and Blanket. Jackson’s mother Katherine took custody of all three of her son’s children and became their legal guardian. Since he passed away, Paris has established herself as a successful model and actress, and Prince has completed his education and begun a career in the entertainment world.

Who created the Philadelphia sound?

Michel Martin of NPR discusses with Kenny Gamble and Leon Huff the history of Philadelphia International Records and the beginning of the Philly sound. Philadelphia International Records has been in business for fifty years. MICHEL MARTIN, HOST: What exactly does it sound like to be in a city? Motown is undoubtedly in your blood if you hail from Detroit.

Jazz is the most likely answer if you’re from New Orleans. If, on the other hand, you hail from Philadelphia, what else could it be than Philly soul? Throughout the 1970s and 1980s, many referred to it as “The Sound of Philadelphia.” (SOUNDBITE OF SONG, “LOVE TRAIN”) O’JAYS: (Singing) People all over the world, everybody, join hands, join, start a love train, start a love train.

Love train. Love train. (SOUNDBITE OF SONG, “IF YOU DONT KNOW ME BY NOW”) HAROLD MELVIN AND THE BLUE NOTES: (Singing) If you still don’t recognize me after all this time. (SOUNDBITE OF SONG, “WHEN WILL I SEE YOU AGAIN”) THREE DEGREES: (Singing) When will I see you again? when will I see you again? (SOUNDBITE OF SONG, “AIN’T NO STOPPIN’ US NOW”) MCFADDEN AND WHITEHEAD: (Singing) Ain’t no stopping us now.

We are currently in motion. MARTIN: The O’Jays, the Three Degrees, and Teddy Pendergrass are just a few of the legendary artists whose work was produced at Philadelphia International Records, which is also responsible for the creation of the masterpieces listed above. This year marks the 50th anniversary of the founding of Philadelphia International Records, and in honor of this momentous occasion, we decided to chat to the company’s co-founders, Kenny Gamble and Leon Huff.

In November of 1971, these two Grammy Award–winning producers and composers collaborated to create the record label. They were instrumental in bringing the music of the city to life and sharing it with the rest of the globe. They are here with us at the moment.

We are really grateful that you could be here today, Kenny Gamble and Leon Huff. Sincere felicitations on the occasion of this momentous milestone. LEON HUFF: Thank you. KENNY GAMBLE: I can’t thank you enough for anything. MARTIN: I just wanted to say that I know the two of you have been working together for such a long time since you’ve been together for such a long time.

How did you two meet? It’s possible that I’ve never been told the tale, but I highly doubt it. Who is going to go first? Mr. Gamble? GAMBLE: Well, of course, as you may be aware, many individuals inquire about this. It was a long time before 1971 when Huff and I first crossed paths, though.

  1. It was somewhere in the 1960s, either 1967 or 1966, or someplace in that general vicinity.
  2. We were both employed in the Shubert building, which was located on Broad Street in Philadelphia.
  3. We were both going for the same goal at the same time.
  4. Do you understand what I mean when I say that we are making an effort to learn as much as possible about the music industry? Because Huff had already released recordings and been a part of groups prior to our meeting.

But once we came together to work, I think it was magic from then on, once we started to write together because it was so simple. Once we did that, I think it was magic from then on. When Huff and I first started composing music together, it was a miraculous moment, if I may use such a word to describe it.

  1. And that was the end of it.
  2. After that, I mean, we didn’t do anything but work every day.
  3. Currently, we were writing.
  4. And we started our own production.
  5. And we had enormous plans.
  6. And some of them came true, while others did not come true at all.
  7. MARTIN: Mr.
  8. Huff, you should probably pick the one after that.

As Mr. Gamble was pointing out, the two of you have had a fantastic run. I mean, it’s been an extraordinary run. I mean, you’ve written and produced somewhere in the neighborhood of 120 albums, with more than 40 of those albums earning gold or platinum certification.

The Rock and Roll Hall of Fame has recognized both of your contributions to the music industry. So, let me get this straight: Mr. Huff, what do you think the secret is to the success of this partnership? How have you been able to hold it together for such a long time? HUFF: The first thing is making the most of each other’s company and having fun together.

When you collaborate in such a way, you are able to appreciate one another’s company. And it was like that when we first connected. Together, we had a good time. Not becoming a songwriter was one of my first aspirations. My goal was to work as a session musician.

And that was exactly what I wanted to be long before I even considered the possibility of making music. As a result, I was progressing as a musician while performing in a band. I was kind of composing pop tunes, if that makes any sense. My abilities as a songwriter were improving. I was performing songs with different producers and anything else before me and Gamble started working together, so when we did start writing together, I was like, sort of like, being myself playing.

But when Gamble and I first started working together, we each began to establish our own distinct writing style. MARTIN: I have a question for you about it. Perhaps, Mr. Gamble; perhaps you would want to seize this opportunity. When the two of you were working together, how did the process usually go? Which one would you choose? As an example, Mr.

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Huff would be playing the piano when he would suddenly begin asking me, “How did you acquire your sound?” GAMBLE: Well, I think first, me and Huff would sit around and talk, you know, about events that are happening in the world, stuff that we did at the Hi-Hat (ph) or at the – there was a – it was a club we used to go to called A Fantasy (ph), and just – we’d gather up some ideas.

GAMBLE: Well, I think first, me and Huff would sit around and talk, you know, about events that are And once we were all gathered around that piano, we would begin to sing and dance and laugh and make our job an enjoyable experience. What we were doing was enjoyable in every way.

  1. And the scene was breathtaking.
  2. MARTIN: Yeah.
  3. GAMBLE: It was a stunning sight to behold.
  4. In the past, we would write pretty much on a daily basis.
  5. And there would be a list of titles available to us.
  6. For me, each title was like a different narrative.
  7. And Huff would play the chords for them, which was all we need at the time.

In those days, you were only given approximately three to four minutes to create a song, produce it, or do anything else you needed to do. And you had – so you had to split up the song into a couple of separate pieces pretty much in order to compress it.

The first section would be the introduction, which is wonderful because once you’ve heard one of our albums’ introductions, you won’t be able to forget it. MARTIN: You are absolutely right. That is a valid point. GAMBLE: Like. MARTIN: Yeah. GAMBLE:,”Back Stabbers.” You are not going to be able to forget the introduction that Huff provided for it.

You’ll never forget — whenever that beginning starts playing, you’re familiar with the music in question. (SOUNDBITE OF THE O’JAYS SONG, “BACK STABBERS”) HUFF: There was some scientific investigation that went into our method. Because there is a method to everything, I refer to it as “the scientific method.” Therefore, our science consisted of me rigging the piano.

  • There was a vertical piano in our home.
  • And I rigged it.
  • I refer to it as “rigged” since it is an accurate description of the situation.
  • It was rigged, and it wasn’t the typical piano that we wrote on, because I took thumbtacks and put them behind all of the hammers.
  • It wasn’t the normal piano that we wrote on.

MARTIN: Oh, well, how. HUFF: And. MARTIN:.Are you coming? HUFF: And, this just occurred to me at this very moment. MARTIN: (Laughter) What? OK. HUFF: Because the piano that I was teaching myself to play on at home in Camden had a quick bass, and I was the one who taught myself how to play.

  1. The speed of the piano wasn’t satisfying to me, so someone or something suggested that I go to the pharmacy and purchase those box thumbtacks.
  2. I then moved it such that it was behind each of the 88 hammers.
  3. That effectively cheated the piano.
  4. And that resulted in the cap being removed.
  5. The majority of the guys up there have their tops off; I notice this as I go into the workplace all of a sudden.

So I stripped mine. And now there was no stopping the sound. However, by placing thumbtacks below the hammers, that piano was transformed into something quite different. MARTIN: That’s great. It seems like thumbtacks was a significant contributor to the Philly sound, doesn’t it? HUFF: Well, you might say that that was a step in our procedure.

  • Huff, do you know that after everything, we still have that piano? MARTIN: (Laughter).
  • GAMBLE: Yes, that piano had a significant role in.
  • HUFF: That’s correct.
  • RISK:.Of what it was that we were doing.
  • HUFF: That’s it exactly.
  • MARTIN: Can you tell me where that piano is? I really hope it’s an amazing location.

Where can I find it? Do. It’s been put away in the storage area. MARTIN: Oh. The answer may be found there, GAMBLE. MARTIN: Storage? I don’t understand why it wasn’t inducted into the Rock and Roll Hall of Fame. GUESS: It may be on display in a museum (laughter).

  1. HUFF: I heard something incomprehensible coming from the piano.
  2. GAMBLE: There are really a few distinct museums there presently.
  3. One of them is the one that is located in Washington, District of Columbia.
  4. My guess is that you’re looking at the African American Museum.
  5. Yes, it’s the Museum of African American History and Culture, MARTIN.

GAMBLE: Yeah. You are aware that there is some representation of the Philadelphia sound in there. But as you probably well know, if the spirit wants it to move, it will move. Because that is a unique piano, there is no reason to worry about its survival.

  1. MARTIN: Yes, you got that right.
  2. I’d want to express my gratitude to both of you for taking the time to speak with me.
  3. This has been such a pleasant experience.
  4. What do you want people to take away from your work and remember? What do you want people to think of when they think about Gamble and Huff? Is there something in particular you want them to remember? Mr.

Huff? HUFF: When you think of one of the best teams that ever done it, think of us. GAMBLE: I’d prefer that the music speak for itself rather than me. And it seems to be doing that so far because – I want them to remember that message in that music and how that music made people feel, because the world is in such a bad shape because people don’t know how to get along with one another.

And I want them to remember that message because I want them to remember how that music made people feel. As a result, we set out to write songs that would improve people’s moods as well as their perspectives. And I believe that this is part of the reason why our music has endured for so long because it is soulful.

MARTIN: Well, I’d like to express my gratitude to both of you for taking the time to speak with us. This year marks the 50th anniversary of Philadelphia International Records, which was founded by the famed songwriters and record producers Kenny Gamble and Leon Huff.

  • Congratulations to Kenny Gamble and Leon Huff, you two have earned it.
  • It has been a great pleasure to spend some time with you.
  • GAMBLE: Thank you.
  • HUFF: Thank you.
  • A clip of MFSB performing their song “TSOP (THE SOUND OF PHILADELPHIA)”) Copyright 2021 NPR.
  • We reserve all of our rights.
  • For further information, please see the permissions and conditions of use pages on our website, which may be found at www.npr.org.
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What happened to Gamble and Huff?

Years later – In 1975, Philadelphia International was embroiled in a controversy involving payola; Gamble was penalized for his involvement, but Huff was not punished in any way. However, beginning in the late 1970s, the Philadelphia soul sound began to see a gradual loss in popularity.

The trend of disco music was on the decline, R&B was gravitating toward ballads, and rock was making its way back up the charts in the United States. Despite this, the label enjoyed a fair amount of success in the late 1970s. “Enjoy Yourself,” which was released by The Jacksons in 1976, and “Ain’t No Stoppin’ Us Now,” which was released by McFadden & Whitehead in 1979, were two of the later hits.

A song that they had written called “My Mood” was selected to be played at the end of WRC’s Friday Night 6pm newscasts in the year 1980. As of the year 2018, WRC continued to play this song. In 1982, Philadelphia International’s biggest performer, former Blue Notes vocalist Teddy Pendergrass, was involved in a vehicle accident that left him paraplegic from the waist down.

As a result of this catastrophe, the future of the record company was called into question. In that same year, Philadelphia severed its links with CBS and entered into a new partnership with EMI. Gamble and Huff continued to develop songs and produce music for the artists signed to the label despite the fact that they were no longer producing successful records.

Simply Red’s rendition of the Blue Notes’ 1972 hit ” If You Don’t Know Me By Now ” earned Gamble and Huff their first Grammy Award in the category of Best R&B Song in 1990. The award was given for Simply Red’s version of the song. The same year, 1990, saw Warner Chappell Music complete the purchase of Mighty Three Music.

Gamble and Huff were recognized with the Grammy Trustees Award in the year 1999, entering the ranks of other prominent figures in the music industry such as Frank Sinatra, The Beatles, and Walt Disney. Their cumulative output of more than 3,000 songs throughout the course of their careers makes them among the most prolific professional composers in the history of music.

Kenneth Gamble is still writing today, frequently collaborating with Leon Huff, and Philadelphia International is still going strong. He has not moved from South Philadelphia and maintains an involvement in the affairs of his neighborhood. Gamble is the owner of the defunct Royal Theater as well as the properties that surround it.

At a ceremony that took place in New York City on September 19, 2005, Gamble and Huff were honored for their significant contributions to the field of producing dance music by being inducted into the Dance Music Hall of Fame. Gamble and Huff were the first people to receive the Rock and Roll Hall of Fame’s “Ahmet Ertegün Award” in 2008.

This honor was presented to them in 2008 for their contributions to the music industry. This honor takes the place of the “non-performer” induction category that was formerly given out. At the 57th annual BMI Pop Awards, which took place on May 20, 2009, Gamble and Huff were honored with the BMI Icons award.

  • The two artists have been honored with a staggering 86 BMI Pop and R&B Awards between them.
  • In May of 2010, the Honorary Doctor of Music degree was bestowed upon both Kenneth Gamble and Leon Huff by Berklee College of Music.
  • The songwriting pair was invited to give the commencement address during the event, which was held at Agganis Arena on the campus of Boston University.

Gamble’s mother, Ruby Gamble, passed away on March 16, 2012, and an obituary was published in the Philadelphia Inquirer on that day. In the obituary, Gamble credited his success to the effect that his mother had on him. Ruby Gamble was 96 years old. Kenny Gamble remarked that their mother had a one-of-a-kind personality.

  1. She was the most charitable person we had ever met.
  2. She was the driving force behind all I’ve accomplished in my life, including the creation of the magnificent music that people all around the globe have appreciated.
  3. This is the most crucial point.” “She was a devout Jehovah’s Witness and served as the matriarch of the family.

She was a spiritual person who dedicated her life to serving God. Her gentleness and tranquility will live on in our memories forever.” TV One’s “The Trumpet Awards,” which took place in April 2014 and marked the 22nd annual awards event, paid homage to Gamble & Huff by presenting them with an award during the presentation.

How many MTV stations are there?

MTV presently has 100 networks that are linked with it.

What channel is MTV directv?

Where can I find MTV Live HD on DIRECTV and what channel is it? You can watch MTV Live HD on channel 572.

Does MTV own VH1?

Links to other websites: The Wikimedia Commons has content with regards to VH1. Website that is official.