Life On The V: The Story Of V66

Life On The V: The Story Of V66 is a compelling 2014 documentary about the rise and famed existence of the innovative Boston TV station, V66. The film was directed by Eric Green and features a diverse set of interviewees including Michael E. Anderson, Douglas Ardito, and Jeremy Banks. This documentary skillfully gives a vivid account of a groundbreaking moment in the history of music television, although short-lived, but with a lasting impact.

The film starts by tracing the journey of V66, its birth, and premature death. Set in the mid-1980s, before the dominance of the Internet and the omnipotence of social media platforms, V66 emerged as a remarkable broadcast phenomenon. Founders John Garabedian and Arnie Ginsburg had a vision of a 24-hour, local, music-video channel ready to foster a sense of unity in the local music and arts scene. The station was christened with the name 'V66', the "V" representing "video," and "66'" representing the station number on the UHF dial.

V66 was a pioneer in the broadcasting industry, one of the first stations to blend the concept of radio and television. In the pre-MTV era, it was offering music videos around the clock, turning local artists into national celebrities and national celebrities into local personas. Additionally, it was a platform to showcase upcoming artists, featuring live studio performances from major acts such as Bon Jovi, The Cars, and 'Til Tuesday.

The documentary takes viewers through the whirlwind two-year existence of the music video channel, presenting multiple aspects of the V66 story via numerous engaging interviews. A blend of station staff, musicians, fans, and media professionals reflect on their roles and experiences with V66, shedding light on how it gave struggling local bands visibility and how it paralleled nationwide music television development. Not to forget, the film exactly pinpoints how the station tightly bonded with its viewers, through major events like the 1986 Red Sox “Impossible Dream” season.

Interviews with Michael E. Anderson, Douglas Ardito, and Jeremy Banks, among others, give a rich account of the station’s rise to prominence. Anderson, a former V66 VJ, provides a captivating behind-the-scenes perspective. Ardito, a well-known musician, enlightens the audience about the importance of V66 as a launching pad for new artists. On the other hand, Banks, a known DJ, offers a view from the music industry side, detailing how V66 helped bridge the gap between musicians and their listeners.

The director Eric Green efficiently captures this crucial part of Boston's music and television history with a respectful tone, deep affection, and clear knowledge. The film gives the audience an empathetic insight into an era when regional radio was getting extinct and national cable TV turned the focal point. It offers a wistful trip down the memory lane for some, while for others, it acts as a rich historical source, presenting a time when music television was still a novelty, and when local TV stations had the power and reach now monopolized by the internet and social media platforms.

Life On The V: The Story Of V66 doesn't just focus on the 1980s video music scene, rather, it offers a larger view, a socio-cultural narrative of an era on the verge of losing its local identity to the hands of corporatization, courtesy of Reaganism. Without spoilers or melancholic nostalgia, the film follows the V66's final month, leading up to its eventual replacement by the Home Shopping Channel, a decision that starkly symbolized an era of homogenization, marking the end of local broadcasting.

The film is a nostalgic ride yet also an homage to an era of pioneering innovation. It brings to light a piece of forgotten history that was integral to Boston’s cultural landscape. The story of V66 is more than just the story of a music video channel’s meteoric rise and downfall; it is a testimony of innovation, vision, and an era that echoed with the beat of music videos. Life On The V: The Story Of V66 is a must-watch for those intrigued by music history, media studies, or anyone interested in cultural time capsules.