MTV India's Golden Era: How It Shaped Pop Culture & Why It Faded
MTV India: The Rise and Fall of a Cultural Icon

In a significant move signaling the end of an era, Paramount Global announced the closure of five MTV channels in the UK by the end of 2024. This decision, driven by cost-cutting measures following Paramount's $8 billion merger with Skydance and shifting music consumption patterns, echoes similar expected measures across Asia. For India, this news evokes powerful nostalgia for the channel's golden period that fundamentally transformed youth culture.

The Wild Early Days of MTV India

The story of Cyrus Sahukar's first day at MTV India perfectly captures the channel's maverick spirit. On his birthday, 6 August 1999, Sahukar was unexpectedly "kidnapped" by men with hockey sticks outside his Juhu hotel—a prank orchestrated by colleague Cyrus Broacha for his show Bakra. This incident exemplified the unprecedented creative freedom and chaotic energy that defined MTV India and rival Channel [V] during the late 1990s and early 2000s.

MTV initially entered India in 1991 through Star TV with Americanized programming that felt alien to Indian audiences. After the Star-MTV partnership ended in 1994, Star launched Channel [V], which quickly became a sensational success by embracing Hinglish and Hindi pop. MTV returned with a dedicated Indian feed in October 1996, completely reinventing itself under leadership like Sunil Lulla, who replaced western content with locally relevant programming.

The VJ Revolution and Cultural Impact

The channel's transformation was remarkable. Out went American shows like Beavis and Butt-head, replaced by Indian-centric content including Bakra, Loveline, and Style Check. The new tagline became "MTV Enjoy"—reflecting its desi cool identity. What followed was unexpected: Cyrus Sahukar's spoof Semi Girebaal sometimes rated higher than the original Rendezvous with Simi Garewal it parodied.

The VJs became cultural icons—Cyrus Broacha, Malaika Arora, Nikhil Chinappa, Mini Mathur, and Gaurav Kapur among them. They weren't distant celebrities but relatable figures who shaped fashion, language, and attitudes. As Mathur recalls, "Nothing was embarrassing. It was empowering." The working environment was intensely competitive yet collaborative, with VJs often working 15-18 hour days.

The creative competition between MTV and Channel [V] produced legendary characters. MTV had its cantankerous lift operator, while Channel [V] created Quick Gun Murugan, the Tamilian cowboy who became so popular he eventually starred in a feature film. Rajesh Devraj, who created Murugan, notes that "the promo department was the creative centre, the heart of it all."

Launchpad for Indian Independent Music

Beyond entertainment, the channels revolutionized India's music scene. Before MTV and Channel [V], popular music primarily came from Bollywood, with few independent artists releasing albums or music videos. These platforms broke that hegemony, providing crucial exposure to bands like Euphoria, Indus Creed, Silk Route, and Lucky Ali.

Palash Sen of Euphoria emphasizes, "Without MTV and Channel [V], there would have been no Euphoria." Their song Dhoom Pichuk Dhoom debuted on MTV on 10 October 1998, making them "the people's band" without requiring payment for promotion. Uday Benegal of Indus Creed acknowledges how MTV improved music video quality in India and inspired countless small-town youth to pick up guitars.

The Inevitable Decline

So what changed? Multiple factors converged. The channels became more corporate, prioritizing TRPs over creativity. The political landscape shifted, affecting content. Most significantly, technology transformed music consumption—YouTube and streaming platforms replaced television as youth's primary music source.

MTV India shifted focus to reality shows like Roadies and Splitsvilla, retaining only select music programming like MTV Unplugged. As Sunil Lulla observes, "It's fine to do reality. It's fine to retain music. But you need to have conversation with younger people." The channel failed to maintain that crucial dialogue.

Mini Mathur perfectly captures the era's conclusion: "Video killed the radio star, now Insta killed the video star. An era is coming to an end, when we invested in people, we felt like we belonged. We are officially done. And welcome the new world." The cultural revolution that began in the 1990s has yielded to new platforms, but its impact on Indian pop culture remains indelible.