<P>Music videos were once something broadcast by MTV and received on our TV screens.Today, music videos are searched for, downloaded, and viewed on our computer screens -- or producedin our living rooms and uploaded to social media. In <I>We Used to Wait</I>, RebeccaKinskey examines this shift. She investigates music video as a <I>form</I>, originally aproduct created by professionals to be consumed by nonprofessionals; as a<I>practice</I>, increasingly taken up by amateurs; and as a<I>literacy</I>, to be experimented with and mastered. </P><P>Kinskey offersa short history of the music video as a communicative, cultural form, describing the rise and fallof MTV's <I>Total Request Live </I>and the music video's resurgence on YouTube. Sheexamines recent shifts in viewing and production practice, tracing the trajectory of music videodirector Hiro Murai from film student and dedicated amateur in the 1990s to music video professionalin the 2000s. Investigating music video as a literacy, she looks at OMG! Cameras Everywhere, anonprofit filmmaking summer camp run by a group of young music video directors. The OMG! campers andcounselors provide a case study in how cultural producers across several generations have blurredthe line between professional and amateur. Their everyday practices remake the notion of literacy,not only by their collaborative and often informal efforts to impart and achieve literacy but alsoby expanding the definition of what is considered a valuable activity, worthy of dedicated,pleasurable pursuit.</P>