VH1...Take Two

In fact, for all the network's early talk about new music, nostalgia plays a bigger part than ever—but, again, with new-and-improved packaging. 8-Track Flashback digs up concert clips and videos from the '70s; The Big '80s does the same with the Reagan era. Both are fun-music popcorn but are also starting to wear out their novelty appeal. The network resurrected the '70s concert series Don Kirshner's Rock Concert but has, alas, replaced it with The Best of American Bandstand—which, despite wonderful glimpses of early Madonna and Prince, seems like little more than an excuse to peddle more '80s nostalgia. The same with Sex Appeal, which showcases the oeuvres of the likes of Robert Palmer, Paula Abdul, George Michael, and other longtime favorites of the network, back when it was VH-1.

In its defense, some of VH1's programming treats music as more than just disposable entertainment for teens bored with computer games. 4 on the Floor, its McLaughlin Group of rock critics, not only spotlights actual discourse and opinions but should help dispel the notion that critics never listen to the records they review. Duets, VH1's shot at an Unplugged-style franchise, is a tired idea, but two of its first shows (Melissa Etheridge joined by Joan Osborne, Sophie B. Hawkins, and others, and a John Hiatt-Matthew Sweet matchup) had flashes of spark. Those programs compensate for the cancellation of Naked Cafe, the network's offbeat and creative attempt at a newsmagazine (for instance, Liz Phair was interviewed via polygraph test). Its replacements, like the product-hype-driven The Last Word or the incongruous Fashion Television (House of Style with no style), are not as inspired. The most noteworthy moment on its vapid "Music & Fashion Awards" telecast was the Sean Penn/Madonna reunion.

VH1's hardly drastic revamping may simply have to do with money. Its ratings are still small, even for a cable network. From the beginning of its makeover to the fourth quarter of 1995, its reported prime-time ratings are basically unchanged—0.2, or 104,000 households. (MTV has three times as many viewers.) When told that VH1 claims a ratings hike of 5 percent since 1994, one cable executive said that was "peanuts." In radio, adult contemporary remains the most popular music format, and there is nothing wrong with VH1 positioning itself for that same audience—grown-ups (many of them women, based on the ads) who want a little modern soft rock mixed in with their Whitney oldies. But to market this approach as new—or to make it seem as if the quality of music on VH1 is better than MTV or The Box because it comes "first"—is misleading or not true. Not to get too heavy, but it also seems like a betrayal of the network's initial overhaul.

VH1's fascination with Madonna is itself revealing of how old wave the network can be. Each week seems to bring a Madonna video special, a Madonna interview, or VJs telling us that in 1995 she succeeded in "reinvigorating her career." (Says who?) The uneventful "You'll See" is in heavy rotation, and its accompanying album, Something to Remember, was recently listed under "3 to Own" on "The Hot List." Perhaps it's payback for Madonna mouthing "It'll suck you in," or maybe the network feels that the public is still obsessed with her. At this rate, VH1 should land the exclusive telecast of Madonna giving birth—which, come to think of it, would be more interesting than much of its current playlist.