The Monday Mix - Shifting Our Viewing Paradigm (Channel TV To Media TV)

For me, appointment television died when Netflix added the first three seasons of Arrested Development. But that show was already in reruns, and I had viewed most of those shows previously. I remember watching all three seasons over five nights thanks to my girlfriend's Wii console, which allowed me to receive streaming video via my outdated television set. That was four years ago.

But then in 2013, Netflix added two original series, Orange Is The New Black and House Of Cards, loading an entire season of each on to their streaming platform, and I could binge watch an entire season during an all day/evening cramming session the day the show was released. It was a momentous and addictive moment that genuinely removed me temporarily from life.

Just me and my Netflix. And an occasional bathroom break.

Social media and the Internet lit up the next two weeks with personal accounts of subscribers binge-viewing either or both shows -- fans streaming one episode after another until they finished the entire season. And like crack addicts, we were left wanting more. So we looked for other shows to binge watch until the next seasons of our favorites were released.

Accepted truths, common wisdom and economic assumptions have all crumbled before the paradigm-shifting onslaught wrought by Internet Protocol technologies, the same technologies that have challenged models in the music and motion picture industries. Anyone looking for the impact of streaming technologies on television will find a wealth of comment. “TV is dead,”“Web TV” and “Channel TV to Media TV” are exemplars of common themes. A simple Google search of “streaming” and “television” together will get you 250 million results. There are papers, conferences, television programs, news documentaries, and of course scores of blogs offering debate and discussion regarding content distribution models.

There are four points to the IPTV Platform:

1. IP Technology has liberated the viewer from the imprisonment of set programming schedules. 
2. Technology has fragmented audiences and has eroded the advertising-dependent business model that worked so well for sixty years. 
3. Streaming television represents a major shift in how programming content is disseminated. 
4. Producer and consumer are disintermediated in the Internet delivery model, i.e., in an IPTV world, anyone can be an aggregator.

When we discuss the future of television, we are no longer talking about that grandpa-box that sits in the corner of your living room, nor are we referring to current distribution models, which are pretty much doomed. We are instead referring to the product of that model, which is singularly the content that we watch. It used to be that the medium was more significant than the content. That's no longer the case. Television isn't going away, it is just that the experience of viewing content is now being modeled after streaming platforms like iTunes, YouTube and Netflix.

“Rumors of [its] death have been greatly exaggerated." -- Mark Twain

Shows I have personally binge-watched:

• The Sopranos
• Arrested Development
• Brooklyn Nine-Nine
• Orange Is The New Black
• House Of Cards
• Dexter
• Breaking Bad
• Game Of Thrones
• Boardwalk Empire
• True Blood
• American Horror Story
• Lilyhammer
• Deadwood

Binge watching is also a social network-oriented aggregation phenomenon. According to my social media connections, there are so many more shows that I've missed, particularly Walking Dead and Sons of Anarchy. Both are on my binge-watch bucket list. And yes, that's a thing now.

Let's face it, most regular television viewers rarely watch programmed content by appointment unless it is sports, news or weather. Further, we've had the ability to time shift our favorite programs since the debut of the VCR. Technology is a wonderful thing. As viewers, we wanted the ability to watch television on our schedules rather than the networks' schedules and now we fully have that ability.

Portable television is taking it a step further, allowing for over the top television content to be delivered to portable devices like tablets and mobile phones through streaming internet connections. 912,000 viewers watched the Alabama-Ohio State NCAA semi-final via ESPN's streaming network last week. That was a record for live, streaming television.

The effects can be seen all across the media landscape. Amazon is now offering first run series eligible for binge watching for it's Prime members. At the end of 2014, HBO announced that it's streaming service, HBOGO, would be available without a tethered cable or satellite subscription. ABC, CBS, NBC and FOX are all offering stand alone services. Disney and ESPN as well. Many more are coming.

Live events are still communal media moments that demand scheduled screening, but at least with portable options we are not confined to stationary viewing, though I don't anticipate future Super Bowl parties revolving around your neighbor's new Samsung tablet. In saying that, it is important to note that television sales have dropped dramatically (as have the prices due to substantially less demand), and that new cable and satellite subscriptions are decreasing just as rapidly.

But outside of those large, must-see live TV happenings, consumers have disrupted the power of the prime-time schedule in a strong and significant manner. Scheduled, appointment TV has been a broadcasting template since 1948. Distribution models are now tailored to individual tastes, needs and demands. Broadcasting has become passe. Content delivery is the new buzzphrase.

Advertisers have also had to adapt to new models of branding. Hulu is possibly the best view we have of the new landscape, and its lifeblood, the advertising that makes it possible. Advertisers no longer back a program based on traditional ratings numbers or anticipated time-slot audiences. New brand identification targets niche audiences, segmented and recommended by individual interest, past purchases, demographic notation, psychographic and geographic profiles (literally down to the zip code of the viewer).

Production houses have had to adapt to increased demand, particularly for serial programs, as traditional viewing seasons are now becoming obsolete. Other than regular network television broadcasting, new viewing seasons rarely start right after Labor Day.

Besides the viewer, who wins? The independent producer is now the big winner. Score one, finally, for the indies. Why? The costs of distributing digital content are relatively insignificant. The appetite for infotainment and short-form video content has never been stronger. Marketing and promotion costs remain, but those costs are falling thanks to social media and technology aggregator platforms. Creating buzz is the new challenge.

After Breaking Bad won an Emmy for it's final season, creator Vince Gilligan reflected on the changes in the viewing habits of the show's core audience.

“Television has changed a lot in six years,” Gilligan told reporters backstage at the Emmys, referencing the time his show had been on the air.

“I’m no expert on the sociological elements of it, but I’ve got to think a big part of what has changed is streaming video, particularly with operations like Netflix, iTunes and Amazon Prime,” he added.“I think Netflix kept us on the air. Not only are we standing up here [as Emmy winners], I don’t think our show would have even lasted beyond season two. It’s a new era in television, and we’ve been very fortunate to reap the benefits.”

STAFF SIX PACK


(Munk Duane)

Six singles by Jivewired artists that we are digging on this week.

1. Some Rivers by Munk Duane Band
2. Little Bit Of Somethin' by Emma Lane
3. Bones Live Forever by Megan Slankard
4. Crash by Whitney Monge
5. Don't Know Where The Line Is by Bad Mary
6. Chosen One by Second Player Score


INDIE ALBUM OF THE WEEK

Machinery by Megan Slankard



Purchase on iTunes

VIDEO OF THE WEEK

Don't Know Where The Line Is by Bad Mary


Fun, power-pop punk from new Jivewired members Bad Mary.

ABOUT THE MONDAY MIX

Programming Note: Monday Mix Playlists now run for two consecutive weeks in an effort to double the exposure for our indie artists, and because we have had a number of requests for people who miss the show. Also, the Monday Mix will re-air at Midnight CST each Monday night.

The Monday Mix airs from Noon to 5:30PM CDT each Monday and is designed to help you get through that brutal after-lunch, energy-sucking span that kicks off every work week. This particular show will be a mix of old, deep album cuts and new indie music with a lot of genre crossover. No Adele. Sorry.

What else does The Monday Mix do? Well, it helps you discover new indie music by combining some really great under the radar tracks with more established songs that were, once in fact, under the radar as well. The hope here is that the culture shock of discovering your next favorite band won't be so enormously imposing if we surround the new stuff with some of your old, familiar friends.

Jivewired supports independent musicians by paying royalties for airplay on Jivewired Radio. Please help us support indie artists by listening to our station and by purchasing indie music. Thank you. The links on the radio player will give you download options if you really dig on the music and some of the songs are offered for free.

To listen, just press play on the following radio widget or use this link to open in a new window that will allow you to listen when you navigate away from this page:

Launch Jivewired Radio



MONDAY MIX PLAYLIST FOR 05 JANUARY 2015

1. Hold On by Alabama Shakes
2. Like You Do by Jay Stolar
3. Nobody's Home by Caroline Pennell
4. The One Who Loves You The Most by Brett Dennen
5. Bones Live Forever by Megan Slankard
6. All 149 by Crass Mammoth
7. Hold That Thought by Ben Folds Five
8. Dark Doo Wop by MS MR
9. San Francisco by Foxygen
10. Black Eyes by The Quick & Easy Boys
11. Hold Yr Ground by Sleepy Kitty
12. Say My name by Odesza (feat. Zyra)
13. Run Outta You by Vintage Trouble
14. Truck Stop Gospel by Parker Millsap
15. Wrapped Around Her Finger by Mikey Ohlin
16. Elephant by Tame Impala
17. Cecilia & The Satellite by Andrew McMahon In The Wilderness
18. Stolen Dance by Milky Chance
19. Crash by Whitney Monge
20. Set Me Free by Left On Red
21. Down & Dirty Way by Tae Phoenix
22. Wildest Moments by Jessie Ware
23. Yellow Flicker Beat by Lorde
24. Digital Witness by St. Vincent
25. I Follow Rivers by Lykke Li
26. Good Luck by Lenachka
27. Dangerous Mood by Joe Coker & B.B. King
28. Millie Mae by Sister Sparrow & The Dirty Birds
29. She Wants It by The Nick Moss Band
30. She by The Bloody Nerve
31. Lost In The Light by Bahamas
32. Skinny Love by Bon Iver
33. Where Not To Look For Freedom by The Belle Brigade
34. Good Change by The Big O Trio
35. Open Season by High Highs
36. Electromagnetic Force by The Wanton Looks
37. Sink/Swim by Charlie Siren
38. Don't Know Where The Line Is by Bad Mary
39. Chosen One by Second Player Score
40. Nothing Left To Burn by Hip Kitty
41. Just One Drink by Jack White
42. Sirens by Pearl Jam
43. Calm Before The Storm by The Bats
44. Cranes & Buildings by Antiques
45. Drinkin' by Holly Williams
46. Little Bit Of Somethin' by Emma Lane
47. Some Rivers by Munk Duane Band
48. In The Dark by The Iveys
49. Shiver Shiver by Walk The Moon
50. Digital Love by Bronze Radio Return
51. Spilt Milk Milkshake by Black Before Red
52. Letters From The Sky by Civil Twilight
53. Not On Drugs by Tove Lo
54. Man by Neko Case
55. Lost Together by Megan Slankard
56. Fade Into You by Mazzy Star
57. Push (Get It All Mix) by SPC ECO
58. Seasons (Waiting On You) by Future Islands
59. Sorry About Last Night by Wally Dogger
60. Ex's and Oh's by Elle King
61. Brill Bruisers by The New Pornographers
62. Yellow Red Sparks by Yellow Red Sparks
63. Mouthful Of Diamonds by Phantogram
64. Soul Meets Body by Death Cab For Cutie
65. Tell Her You Love Me by Echosmith
66. Don't Save Me by HAIM
67. If You Love Me by Van Morrison & B.B. King
68. Let Me Be by Star Anna
69. Steal Your Car by Jeff Campbell
70. Ghost by Halsey
71. Oh Sailor by Mr. Little Jeans
72. The Fall by Rhye
73. Four Walls by Broods
74. Nothing But Our Love by Dale Earnhardt Jr. Jr.
75. Cool Kids by Echosmith
76. Open by Rhye
77. Hold On We're Coming Home by ASTR
78. Knocked Up Cheerleader by Low Litas
79. Beggin' For Thread by Banks
80. Don't Worry 'bout Us by Julia Massey & Five Finger Discount
81. Wine Lips by Lydia Loveless
82. Hollywood by We Were Astronauts
83. East Of Eden by Zella Day
84. 1901 by Phoenix