“I got these from a house cleaning at [Marv Newland’s] International Rocketship. They are layout ideas for the early animated MTV logos back when MTV actually showed music videos all day. I don’t know if these were ever actually animated & aired, but they are cool nonetheless!”
I think a lot of these MTV logos were comped for commercial bumpers for an TV advertising Fred/Alan did in 1989.
“TV or MTV?”
I’ll look around for some of the spots.0 comments Tagged: 1989, MTV logo, advertising, commercials, television, MTV, graphic design, illustration,.
Eugene Pitt and The Jive 5 were as perfect an element of network identity as Fred/Alan ever found. All the filmmakers who worked with us on Nickelodeon lined up to be the first to use their soundtracks on their network IDs.
The Fred/Alan television branding execution often started with defining a network’s sound. A background in music and radio made this logical for them, though it was a philosphy grounded in their belief that TV was driven by the sounds first, with the visuals often following the audio lead. In the case of the Nickelodeon rebranding in 1985 the time frame was short, under six months, so the audio and the visual identities were developed simultaneously.
For over a year Alan and Fred had been thinking about old radio jingles, and thinking of ways to incorporate a human, vocal sound on their identities. In 1983, working on The Playboy Channel’s Hot Rocks, they scouted around for an a cappella group to record distinctive IDs for the music video show. Alan’s former colleague, writer and producer Marty Pekar, had started Ambient Sound to capture contemporary recordings of classic doo-wop groups from the 50s and 60s. He introduced them to the leader of The Jive 5, Eugene Pitt, as “not only a great singer, but a smart man.” They found Eugene to be, as Rock and Roll Hall of Fame CEO Terry Stewart said, “the most underrated soul singer in America,” and a wonderful collaborator. When the opportunity to work with Nickelodeon presented itself, Fred, Alan, and producer Tom Pomposello immediately knew the Jive 5 would be the perfect underpinning for defining the vocabulary of the network.
Convincing Nickelodeon was another story. When we brought up the notion of a sound identity, Nickelodeon executives, still not fully understanding of where we intended to steer the channel, suggested a consideration of Raffi, then a recent phenomenon as a singer for young children. “He’s very popular; our research confirms it.” Fred/Alan tried a lot of arguments to bring them around to a doo-wop sound, but they fell on deaf ears. “Doo-wop’s 30 years old, no kid has ever heard of it.”
Frame grab from “The Jive Five”, by Jon Kane/Optic Nerve
We won the day on two grounds.
Fred played on the executives’ liberal backgrouds. “We love all forms of African-American music, and using doo-wop will be a great way to educate American kids without anyone being the wiser.”
“Bom-ma-bom, a-bom-bom-a-bom, ba-ba-bom-bom-a-bomp, b-dang-a-dang-dang, b-ding-a-dong-ding.”
“What kid isn’t going to relate to that right away?” Alan asked.
Animation by Eli Noyes & Kit Laybourne, Joey Ahlbum, Colossal Pictures, David Lubell, Jerry Lieberman & Kim Deitch, Marv Newland/International Rocketship, and Jon Kane/Optic Nerve. Additional singing by Juli Davidson, and Paul Rolnick.
Fred/Alan worked with Nickelodeon from 1984 through 1992 as brand, marketing, and programming consultants, as their advertising agency, and through it’s Chauncey Street Productions subsidiary (managing director: Albie Hecht), as television producers.
Alan has continued to consult and produce for Nickelodeon. Fred produces cartoons and consults for the network. Albie became Nick’s President of TV & FIlm Production for many years and now produces TV shows for them too.0 comments Tagged: 1984, 1985, 1986, 1987, 1988, 1989, 1991, 1992, Network IDs, Nickelodeon, branding, cable, television, MTV Networks,.