MTV to Shut Down Five UK Channels After 40 Years, Sparking Nostalgia and Concern for Artists

London – MTV, the iconic broadcaster that once revolutionised music by airing videos around the clock, is pulling the plug on five of its dedicated music channels in the United Kingdom. The channels – MTV Music, MTV 80s, MTV 90s, Club MTV, and MTV Live – will stop broadcasting on 31 December 2025, marking the end of nearly four decades of non-stop tunes and visuals that shaped pop culture. While the flagship MTV HD channel will stay on air, focusing mainly on reality shows, the move has left fans and industry voices mourning the loss of a platform that launched countless artists into the spotlight.

This decision comes amid a major shake-up by MTV’s parent company, Paramount Global, as it cuts costs and shifts towards streaming services. The closures are not limited to the UK; similar shutdowns are planned across Europe, including in Poland, Hungary, the Benelux region, Germany, and Austria, where other channels like TeenNick and NickMusic may also face the axe. In the US, however, MTV’s music channels like MTV Classic and MTV2 remain unaffected for now, though fans there are watching closely amid rumours of potential changes.

MTV first burst onto screens in the United States in 1981 with the prophetic track “Video Killed the Radio Star” by The Buggles as its debut video. It expanded to Europe in 1987, kicking off with Dire Straits’ “Money for Nothing,” a song that cheekily referenced MTV itself. By 1997, a dedicated UK channel was launched, captivating audiences with 24/7 music videos, countdowns, and live performances. At its peak, MTV was more than just TV – it was a cultural force, influencing fashion, trends, and youth identity worldwide.



But times have changed. Viewership for linear music channels has dropped sharply as people turn to platforms like YouTube, TikTok, and Spotify for instant, personalised music discovery.

Social media users have shared memories of iconic moments, from Michael Jackson’s “Thriller” premiere to Nirvana’s “Smells Like Teen Spirit” defining the grunge era. One fan tweeted: “MTV helped me discover artists… now it’s just 30 episodes of Ridiculousness a day.” Others pointed out the irony: while MTV once claimed video would kill radio, radio has adapted through FM and streaming, outlasting MTV’s music focus.

For artists, especially up-and-coming ones, the shutdown means losing a key avenue for exposure. In the 1980s and 1990s, an MTV rotation could make or break a career – think Madonna’s provocative videos or Britney Spears’ schoolgirl outfit in “…Baby One More Time.” Today, while digital platforms offer global reach, they lack the curated, communal experience MTV provided.

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Source: https://centralnews.co.za/end-of-an-era-mtv-to-shut-down-five-music-channels-in-uk-after-40-years-sparking-nostalgia-and-concerns-for-artists/

I completely agree with this perspective. Honestly, I saw the writing on the wall years ago — right around the time MTV started shifting away from music videos and toward reality shows. MTV wasn’t just a television channel; it was a shared cultural experience that connected music lovers in a way today’s platforms can’t quite replicate. The excitement of seeing a new video premiere, the anticipation of who’d climb the charts next, or even the unexpected discovery of an artist you’d never heard before — those moments defined an era of discovery that felt personal. While streaming and social media have made music more accessible, they’ve also scattered that sense of togetherness. There was something magical about turning on MTV and knowing that millions of others were watching the same thing at the same time, discovering the same songs, and being part of the same musical moment.

For artists — especially those just starting out — the loss of MTV feels like another door quietly closing. Back then, a single video in rotation could launch a career overnight. Now, musicians have to fight through the noise of algorithms and endless scrolling, hoping their content catches the right eyes at the right moment. While platforms like YouTube and TikTok have opened new paths to discovery, they often favor trends over true artistry. The playing field may seem broader, but it’s also more crowded — and without that iconic platform bridging artists and audiences, many rising musicians have to work twice as hard to be seen and heard.

In a way, MTV’s shutdown marks the end of an era — one that celebrated the visual power of music and gave artists a stage unlike any other. It reminds us how much the landscape has changed, but also how timeless the connection between music and its listeners truly is. Even if MTV fades into nostalgia, its impact will always echo through every video, every performance, and every artist still chasing that same dream of being seen and heard.

From Charts to Concerts: BillboardTV Brings Music to Streaming

On Tuesday (Sept. 16), Billboard and Samsung TV Plus announced the launch of BillboardTV — a 24/7 streaming destination for music culture and news.

The exclusive channel will feature nonstop updates from Billboard News, never-before-seen interviews, red-carpet coverage and live concert specials.

The first major BillboardTV livestream of the fall will be an extended edition of Billboard Unfiltered, with top artists and creators unveiling and debating the 2025 year-end No. 1 songs across several key Billboard charts, including the Billboard Hot 100 songs chart and Billboard 200 albums chart.

“With BillboardTV, we’re advancing our vision of Samsung TV Plus as a home for live exclusive content and cultural experiences,” said Salek Brodsky, SVP & Global Head of Samsung TV Plus. “This new channel brings the full weight of Billboard’s influence into our ecosystem, giving fans direct access to the moments that matter, and is a powerful step in expanding our leadership as the go-to destination for premium entertainment.”

BillboardTV will be exclusive to Samsung TV Plus, which is available on Samsung TV, Galaxy, Smart Monitor and Family Hub devices.

To read the full story, please click the link below.

Source: https://www.billboard.com/music/music-news/billboardtv-channel-samsung-tv-plus-1236067010/

BillboardTV just launched today, and it feels like the kind of music-centric programming fans have been missing since MTV shifted away from its roots. While today’s MTV is dominated by reality shows and endless Ridiculousness reruns, BillboardTV promises a lineup built around music culture—news updates, live concerts, artist interviews, and red-carpet coverage. It’s not yet clear whether the channel will feature traditional music video blocks, but its close ties to Billboard’s charts suggest we could see exclusive premieres and performances tied to the hits of the moment. The catch? It’s currently exclusive to Samsung TV Plus, so you’ll need a Samsung device to tune in. Still, for those craving something closer to the MTV of old—where music actually takes center stage—BillboardTV might be worth keeping an eye on.

My Favorite 10 Punk and Almost-Punk Albums

Never Mind the Bollocks, Here’s the Sex Pistols – Sex Pistols (1977): The album that distilled punk into a snarling, sneering, shot of pure rebellion. Loud, brash, and unapologetically in-your-face.

Ramones – Ramones (1976): A fast, raw, and irresistibly direct blueprint for punk. Buzzsaw guitars, breakneck tempos, and sing-along hooks distill rock ’n’ roll down to its bratty, streetwise essence.

Leave Home – The Ramones (1977): Minimalism at its finest: blistering speed, buzzing guitars, and melodies that stick in your head like glue.

Dirk Wears White Sox – Adam and the Ants (1979): Adam and the Ants’ debut album isn’t your standard pogo-and-power-chords punk affair — it’s stranger, sharper, and more theatrical. Released in 1979, Dirk Wears White Sox blends post-punk edge, glam swagger, and a minimalist, art-school sensibility, all wrapped in Adam Ant’s distinctive vocal style.
Angular guitar riffs and jerky, staccato rhythms give the songs a tense, off-kilter feel, while the lyrics and delivery hint at both menace and camp. It’s the darker, more experimental side of Adam Ant, far removed from the polished, pop-friendly hits that would later make him a household name.
It might be post-punk at heart, but its restless energy and outsider attitude earn it a place alongside the era’s most adventurous punk records. So, I added this one!

London Calling – The Clash (1979): An ambitious double album that expands punk’s boundaries with rockabilly, reggae, and political fire.

Give ’Em Enough Rope – The Clash (1978): A tighter, heavier follow-up to their debut, with a more polished sound that still packs urgency and bite.

My War – Black Flag (1984): Drenched in rage and sludge, this album split the hardcore crowd with its slower, heavier second side — but it’s all pure intensity.

Fresh Fruit for Rotting Vegetables – Dead Kennedys (1980): Surf guitar on speed meets razor-sharp satire. One of punk’s most biting and unique voices.

White Music – XTC (1978): Punk in velocity, art-rock in brainpower. Angular riffs and manic tempos make it a wiry, twitchy debut.

Walk Among Us – Misfits (1982): Horror-punk perfected. Campy, creepy, and catchy as heck.

I considered adding Green Day’s Dookie, but it leaned more toward alternative rock than straight punk. And while The Frantic Elevators had some great tracks with real punk bite, their overall catalog just didn’t hit hard enough to earn a spot here. Still, both deserve an honorable mention for moments that carry the same restless, defiant spirit that makes punk timeless.

From the raw rebellion of the Sex Pistols and The Clash to the infectious energy of the Ramones and the quirky edge of XTC, enjoy these classic punk rock anthems that helped define the genre’s explosive spirit.

Ozzy Osbourne, who led Black Sabbath and became the godfather of heavy metal, dies at 76

Ozzy Osbourne, the gravel-voiced frontman of the groundbreaking band Black Sabbath--a figure who came to embody the dark, chaotic soul of heavy metal — died Tuesday at age 76, just weeks after his final farewell performance. Renowned for his hell-raising persona, occult-infused lyrics, and decades-long battle with addiction, Osbourne wasn't just a musician--he was heavy metal’s living, breathing id, a wild icon who turned personal demons into thunderous anthems.

Black Sabbath’s 1969 self-titled debut LP has been likened to the Big Bang of heavy metal. The band’s second album, “Paranoid,” included such classic metal tunes as “War Pigs,” “Iron Man” and “Fairies Wear Boots.” The song “Paranoid” only reached No. 61 on the Billboard Hot 100 but became in many ways the band’s signature song. Both albums were voted among the top 10 greatest heavy metal albums of all time by readers of Rolling Stone magazine.

“Black Sabbath are the Beatles of heavy metal. Anybody who’s serious about metal will tell you it all comes down to Sabbath,” Dave Navarro of the band Jane’s Addiction wrote in a 2010 tribute in Rolling Stone. “There’s a direct line you can draw back from today’s metal, through Eighties bands like Iron Maiden, back to Sabbath.”

The original Sabbath lineup reunited for the first time in 20 years in July for what Osbourne said would be his final concert. “Let the madness begin!” he told 42,000 fans in Birmingham.

Metallica, Guns N Roses, Slayer, Tool, Pantera, Gojira, Alice in Chains, Lamb of God, Halestorm, Anthrax, Rival Sons and Mastodon all did sets. Tom Morello, Aerosmith’s Steven Tyler, Billy Corgan, Ronnie Wood, Travis Barker, Sammy Hagar and more made appearances. Actor Jason Momoa was the host for the festivities.

For the full story, please click the link below.

Source: https://apnews.com/article/ozzy-osbourne-dies-adff88b55f1d3b0bace5705d58d3cdde

I’ll admit, I was never a die-hard Ozzy Osbourne or Black Sabbath fan. Their music didn’t shape the core of my personal soundtrack, but their presence was always undeniable. I remember hearing staples like “Crazy Train” and “Paranoid” on rock radio and TV countdowns—songs that felt larger than life, pulsing with raw energy and defiance. By 1996, alternative music had fully taken over MTV, with artists like Smashing Pumpkins, Alanis Morissette, and Bush leading the charge. And yet, there was Ozzy—still in the mix, still relevant. I remember hearing “I Just Want You” from his Ozzmosis album that year, and it caught me off guard. It wasn’t the wild, unhinged Ozzy of earlier years—it was more introspective, aching, human. In a time when the music scene was shifting rapidly, he somehow carved out space for himself between the fading grunge movement and the rising tide of modern rock. Even if I wasn’t fully immersed in his world, I could see the throughline: Ozzy didn’t just ride the wave—he helped shape it, and he never really left.

I still remember hearing about Ozzfest on the radio. It sounded wild--a heavy metal festival that brought together some of the most intense and legendary rock acts, all under Ozzy’s chaotic umbrella. Just the name “Ozzfest” felt like a bold, rebellious invitation to step into his world of thrashing guitars, outrageous performances, and untamed energy. Even if you couldn’t go, just knowing it existed made you feel like you were part of something fierce and unforgettable.

Later on, “The Osbournes” reality show gave us a whole new view of Ozzy--not as the Prince of Darkness, but as a funny, confused, and strangely lovable dad wandering around his house mumbling things like “Sharon!” I watched it from time to time, cracking up at the chaos of their daily life. It made Ozzy feel more human--like yeah, he’s a rock god, but he’s also just a guy trying to find the remote control in his giant mansion.

With so many aging artists, it’s remarkable how many continue working until the very end, no matter what health challenges they face. I admire that about Ozzy. Living with Parkinson’s and still managing to tour just weeks before his passing speaks volumes—not just about his resilience, but about his dedication, his work ethic, and the deep love and loyalty he had for his fans. He gave everything he had until there was nothing left to give. That kind of commitment stays with you.

That duality—larger-than-life legend and everyday man—might be what made Ozzy so unforgettable in the end.

Before Simply Red: The Punk Roots of Mick Hucknall and The Frantic Elevators

Long before Mick Hucknall achieved international stardom with Simply Red, he fronted the gritty Manchester punk band The Frantic Elevators. Formed in 1976, the group featured Hucknall on vocals, Neil Smith on guitar, Brian Turner on bass, and Kevin Williams on drums. They became known locally for their urgent, emotional sound and socially charged lyrics, carving out a small but passionate following during the height of the UK punk and post-punk movements.

Between 1979 and 1982, the band officially released four singles on vinyl, including Voice in the Dark, You Know What You Told Me, Searching for the Only, and Holding Back the Years (No Waiting) — the latter of which featured an early version of the song that would later become a global hit when re-recorded by Simply Red.

But The Frantic Elevators’ discography extends beyond those four singles. Their sessions with the BBC, live performances, and demo recordings reveal a broader catalogue of songs that never made it to commercial release but circulated through fan recordings and rare pressings. Some compilations and retrospective releases — particularly the 1990s CD The Frantic Elevators 1978–1983 — have helped bring lesser-known tracks to light, showcasing a band that was evolving well beyond its punk origins.

Despite their creative output, mounting internal tensions and a lack of mainstream breakthrough led to their split in 1982. Hucknall soon formed Simply Red, bringing a more polished soul-pop sensibility to the spotlight, while his former bandmates briefly carried on under the name The Elevators before disbanding.

If you've never heard them before, check out these tunes! ♪♫

Original recording of "Holding Back the Years" in The Frantic Elevators era:



It’s just so strange to hear Mick Hucknall singing punk, because I’ve always known him as the smooth, soulful voice behind Simply Red. But it’s fascinating to look back and see where his musical journey began — gritty, raw, and full of edge.

Brian Wilson, Architect of the California Sound, Passes Away at 82

The music icon helped define the "California sound" with the American rock 'n' roll boy band he formed with his family members and a friend.

Brian Wilson, the pop music genius and singer who co-founded the Beach Boys, has died. He was 82.

The musician's family announced his death on Wednesday, June 11 in an Instagram post featuring a recent photo of the star smiling on a bench. Wilson's Beach Boys bandmate Al Jardine confirmed to PEOPLE that he died in the early morning of June 11.

"We are heartbroken to announce that our beloved father Brian Wilson has passed away," the statement read. "We are at a loss for words right now. Please respect our privacy at this time as our family is grieving. We realize that we are sharing our grief with the world. Love & Mercy."

Described by PEOPLE in 1975 as the "formative genius of the group," Wilson served as the rock band's songwriter and co-lead vocalist and also played bass guitar and keyboard alongside brothers, Dennis and Carl Wilson, cousin Mike Love and friend Al Jardine, who all were part of the original lineup.

For the full story, please click the link below.

Source: https://people.com/brian-wilson-dead-82-beach-boys-singer-co-founder-8548234

The song that should have been a radio hit...

Great rhythm, catchy chorus, it had the hook! “Every Time I See Her” is one of those feel-good songs that makes you tap the steering wheel or turn the volume up just a bit higher when it comes on. It’s a pop-rock gem wrapped in shimmering guitar work and Dave Edmunds’ effortlessly cool vocal delivery. So, what was the problem back in 1990?

Well—timing, for one. By the time Closer to the Flame dropped, the musical landscape had shifted. The early '90s were a strange time for traditional rock and roll artists like Edmunds. Hair metal was fading, alternative and grunge were on the rise, and radio playlists were beginning to favor newer, moodier sounds. An upbeat, rootsy pop-rock track—no matter how infectious—suddenly felt out of sync with what was selling.

Then there’s promotion. Capitol Records released Closer to the Flame with minimal fanfare. Edmunds had taken a few years off from studio albums before this one, and there wasn’t a strong marketing push to reintroduce him to a U.S. audience. Even with its clean production and accessible tracks, the album didn’t make a splash on the charts.

And let’s not forget the genre pigeonhole. Edmunds was (and still is) beloved by fans of rockabilly and roots rock, but he never fully broke into the mainstream pop world. Songs like “Every Time I See Her” had commercial potential, but without a major radio hit or MTV visibility, it just didn’t get the momentum it deserved. In short, “Every Time I See Her” was a perfect example of the right song at the wrong time.

In 1990, “Every Time I See Her” was swimming against the current. Charts were dominated by glossy pop like Paula Abdul’s “Opposites Attract” and Madonna’s “Vogue,” while rock was turning heavier with Bad Company’s “Holy Water” or drifting into moodier territory with Depeche Mode’s “Enjoy the Silence” and Midnight Oil’s “Blue Sky Mine.” Even classic rock veterans—Tom Petty with “Free Fallin’,” George Harrison’s “Cheer Down,” and the Traveling Wilburys—were finding success with a similar rootsy sound, but with more label muscle and high-profile collaborations behind them. Edmunds’ bright, feel-good rocker was radio-ready, but the industry’s spotlight was shifting fast, leaving songs like his in the shadows.