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Production Department
     U-MAC has venture into the television industry, producing a new television music program called "TRU Indie Access."  The music video, in which short performances accompany and illustrate songs, appeared out of nowhere in the early 1980s to become the most influential—and the only new—art form of the decade.  Over the decades, only major labels were the only record companies able to access the television air-waves. As advertisements for new recordings and as self-promotion for the artist, music videos captured the capitalist spirit of 1980s art. Artistically these videos were a mixed lot, ranging from electrifying to turgid. Most fell somewhere between these extremes—a typical video was a quirky, dreamlike montage of images (a "minimovie") designed to illustrate fantasies or approximate the live performances of the artist or band. The domination kept independent record labels from competing in the market of the music video game.   
     Now that the music video game has change, Punch TV Network has given independent artists and labels the opportunity to access the television air-waves.  U-MAC's newly form television production department has created a new forum for independent music videos.  And they call it "TRU Indie Access.  The music video single-handedly revitalized the slumping recording industry, revolutionized television, expanded radio formatting, ignited the careers of dozens of unknown music performers, breathed new life into dance and choreography, and opened avenues of potential in the movie industry. It also changed marketing and audience demographics by creating a new inter-connection and interdependence among television, movies, and music.  The new forum to showcase music video shot by independent video production companies and created by independent music artists and labels has the opportunity to be seen in millions of households throughout the country.  TRU Indie Access is one of several television productions that U-MAC plans to produce. 
The earliest videos were primitive but often vital exercises for their creators and, in the long run, for the entire industry. Many pioneering videos were simply concert clips, but several artists, particularly in Europe, were experimenting with surrealistic and narrative forms by the late 1970s. In Europe the shortage of radio stations motivated many young musicians to seek alternative types of exposure. Their promotional videotapes were played at discos and on television. In England David Bowie became a forerunner in the new form with his energetic promo video for his song "DJ" (1979) and his Fellini-esque fantasy "Ashes to Ashes" (1980), in which a stone-faced Bowie, dressed as a harlequin, walks along a postapocalyptic beach while being lectured by an old woman. New-wave bands of the late 1970s and early 1980s embraced the video form, even on nonexistent budgets.  So join TRU Indie Acess this coming spring, when vee-jays Dundee and Gilan introduce the hottest indie music videos in the country.