Music Band
The MTV Alternative Rock Show Was A Sun. Night Immersion In Music That Wasn't Played On Main Line Radio, It Gave Wide Exposure To The Surprising, The Offbeat And The Downright Iconoclastic, And Made A Dedicated Fllowing.
The MTV alternative rock show was a Sunday night immersion in music that wasn't played on conventional radio. It gave wide exposure to the peculiar, the offbeat and the downright iconoclastic, and earned a dedicated following. The rest of the week was devoted to Madonna and Def Leppard ; for fans of the Nymphs, Hsker D, Sonic Youth, My Bloody Valentine and other alternative favourites, there were only those dear two hours.
"'120 Minutes' has always stood for something important," says Matt Pinfield, 44, who hosted the show in the mid-'90s and became its most familiar personality. "It's about going past the mainstream and showing you that there had been other great music out there that you might not know. And always presented with enthusiasm, instead of hipster cynicism."
It was Pinfield who brought much of that enthusiasm. The excitable, bald-headed radio vet, who began his career at Rutgers' WRSU-FM, looked nothing like a standard MTV veejay. That merely made him relatable. Pinfield was the fellow down the hall in the college dormitory the one whose extraordinary collection of cassettes and vinyl appeared to grow by the day.
Pinfield, who is living in Harrison, never lost his on-camera glee or his reverence for musical trailblazers. And he cultivated a straightforward rapport with musicians, which made for some of the most relaxed, natural interview segments in the network's history.
Pinfield left "120 Minutes" in 1999 ; in 2003, it was canceled. The show's amalgam of offbeat videos, choice classic cuts, clockwork images and interview segments was occasionally mimicked by other video programs. But no inheritor to "120 Minutes" ever appeared. It is arguable that YouTube and other free video-sharing sites on the internet are that inheritor, and that "120 Minutes" is now not necessary.
Last week, though, MTV revived the show and placed Pinfield back in his customary command position. It has even put the deejay's name in the show's handle. "120 Minutes with Matt Pinfield" will air monthly on MTV2 at one a.m. On Saturdays, and episodes will stream thereafter on mtvhive.com. (The first episode, which was shot in part at the Arlene's Food store club in Manhattan, is currently on the site.)
Pinfield, who deejayed at the Melody Bar in New Brunswick in the early '90s, is ecstatic about the opportunity. He suspects the time is right for the program's resurrection.
"In the old days of '120 Minutes,' unless you had some unimaginable cutting-edge rock radio stations in your neighborhood, you couldn't hear these songs," claims Pinfield. "Now it is the opposite problem. There's so much information. What's required is a curator, a filter, a reliable place to go."
A television program, he recommends, is appropriate better than a music blog or an algorithm-driven service such as Pandora.
"A lot of those sites lack that personal thing. Who has a year, or a week, to go thru one thousand websites?"
Ahead Of HIS TIME
Pinfield's decision to leave "120 Minutes" after 5 successful years on the programme was lead to by his desire to continue looking forward. He was one of the originators of farmclub.com, a short lived website tethered to a reality show on USA that attempted to match hopeful musicians with record labels.
Pinfield sees similarities between farmclub.com and social networking platforms such as Myspace and Bandcamp, which at last did change the relationships between imprints, artists and fans.
"It was one of the first composite projects," says Pinfield, who moved to Los Angeles to work on farmclub.com. "I did that with Jimmy Iovine, and I learned so much in those years. It was ahead of its time, really."
It was also similar in scope to "120 Minutes." At base, farmclub.com sought to do the same the alternative video show did : introduce underexposed music to a mass audience. Pinfield was motivated by the same need that prompts pop fans to play their new findings for their pals, or that compels all good deejays to break out fresh vinyl. He is apprised of something rare, peculiar, and maybe even astonishing, and he is determined to share it with as many folk as practicable.
"Everything's become so subgenre-fied," says Pinfield. "Pop radio has its formula, and that true fervour of individuality becomes lost. There must be a destination on telly and online for musical creativity.".
The first "120 Minutes" was dominated by white males in rock bands, but this time around, hip hop will have a place at the table, too. The first version of the show featured interviews with Alexis Krauss of NY fuzz-pop act Sleigh Bells ( a group influenced significantly by the first wave of "120 Minutes" bands ) and Brooklyn rap ironists Das Bigot. Emcees Lupe Fiasco and Theophilus London both of whom have new albums out this summer also talked with Pinfield. In accordance with Pinfield's genre-bending mission, London called Smiths face Morrissey "one of the illest rappers."
"The diversity has always made the show special," claims Pinfield. "It held true to what was great about free-form radio in the '60s and '70s. It was open season, and any person who was driving their own ship was welcome. It could be hard rock or some casual laid back, folky thing. The bands might be big or fully unknown. We usually want to give the outside bet a shot."
Having said that , there's not quite as much room on "120 Minutes" as there used to be.
On a common show in 1988, 20 to 25 videos would be aired. "120 Minutes with Matt Pinfield" cuts the predicted number of clips down to twelve to 14. The rest of the time is filled up with interviews, which are busy with jump cuts and even occasional impertinent flash animations. A program already noted for its velocity has picked up speed.
"You still see the full videos," says Pinfield. "The show has not lost the music information or the great stories from bands. I appreciate the pacing because it keeps things exciting."
EXILE FROM WRXP
The resurrection of "120 Minutes" comes at a hard moment for Pinfield.
The deejay had been the primary on-air personality at WRXP 101.9, the radio station that brought the choice rock format back to the Manhattan urban area.
Early this summer, WRXP was sold to an out-of-town radio establishment that right away converted the station to a talk format.
All of the station's rock deejays were given their walking papers.
"It's intensely disappointing," announces Pinfield, "and I know our listeners are bummed out now that they don't have a radio station to hear new artists. Still, those three years at RXP were superb, and I am grateful for them. These things happen in the radio business."
Pinfield insists the sale and conversion of WRXP had little to do with sales or ratings. For the veejay, the successfulness of RXP, however momentary, demonstrated that an alternative rock station can work in N. Y Town.
"What I'm looking for is that someone else with a signal will see our ratings, and come to a decision to move into the market with a new rock station," claims Pinfield. "I'm ready to go. I could be waiting for that call" as reported tagza.com.
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