We are a call to all,pay head the squalland turn your sail toward home! Unfortunately for him, he’s got Javier Bardem’s Captain Salazar on his case, another seafaring wrong’un our hero has managed to upset.
Just when you thought the Pirates Of The Caribbean saga might be getting a *teensy bit* tired, Disney goes and drops a new trailer for the fifth film, and there are actual ZOMBIE SHARKS in it. The new film sees good old Captain Jack back in swashbuckling action and on the hunt for another bit of mythical gubbins, the legendary Trident of Poseidon.
Tom Freston and Judy Mc Grath, who ran the network and had been there since Neil Armstrong planted an MTV flag on the moon in 1981, had weathered this storm before through one programming sleight of hand after another, either by grouping videos into genre-specific blocks that platformed metal or rap or alternative rock, or by presenting an animated series in which two teenage dirtbags named Beavis and Butt-Head deconstructed videos, or by ghosting videos altogether and green-lighting the first reality-TV show, .
“The heels versus the baby faces.” R&B and hip-hop stars also figured prominently, albeit rarely collecting the most votes from the predominantly white viewership. In 1999, at the zenith of the teen-pop boom, the show averaged 853,000 viewers, according to Nielsen, and helped establish tween and teen girls as not just a flush consumer group, but one whose aesthetic choices had just as much value and integrity as their broseph counterparts (this came to be called “poptimism” in music-critic circles).
And via its windowed stage set, sold a vision of a G-rated Times Square that brought middle-American parents and their BSB-adoring kids on pilgrimages to the MTV studio.
Those same girls were also latching onto a talented song-and-dance group from Orlando, Florida, called the Backstreet Boys, who, when they signed to Jive Records, were forced to barnstorm Europe while waiting for the American market to shift away from grunge and hard-core hip-hop.
“We spent so much time over there that we ended up dating German girls,” says Backstreet Boy Howie Dorough.
But when production executive Bob Kusbit came to MTV in ’97, in the wake of Kurt Cobain’s suicide and Michael Jackson’s child-abuse scandal, popular music lacked a signature star or scene. “Everyone was trying to figure out what MTV should be.” When a bank vacated its offices at 1515 Broadway, where MTV was headquartered, the network took possession and built a studio.