Over the past several weeks, I have blogged about Spreadable Media written by Henry Jenkins. To look back and recap on all that has been covered, it is slightly overwhelming. Yet several of the main points that have been focused on multiple times are the “spreadability has expanded people’s capacities to appraise and circulate media texts and shape their media environment.” 

To have the luxury of being able to email, text, “share”, and having social media allows us to judge what we think is valuable enough to share and spread to our friends, family and colleagues. We also are able to do it within “lightning speed.” Today’s world is so fast that anything can spread across the world in one click. Twitter has been very involved in helping rumors, pictures, and the latest new stories spread like wildfire. People now have their own choice in what they want to buy into or what they choose to disregard. Audiences are now building their own media environment. They can pick and choose what they are drawn towards or what does not mesh well with their particular media standards.

Spreadability has increased diversity by independent media makers having expanded opportunities to connect with the desired public. Media products are being circulated across borders, which expands their cultural influence. This then ties in with last chapter and how products being “free” helps the spreadability. There is not “one” business model to follow; things that are made “free” digitally to help launch one out of the amateur stage. If a product is “free” and no one is familiar with it and they try it for no cost, that slice is bigger than no one trying it because of its unfamiliarity.

            With a product being “free” and digital it can be tracked easier and reach the diversity that the producer is striving for. If a folk band releases a 5 free singles and see they are downloaded in Georgia and also in Minnesota than they know where to schedule their tour dates for the upcoming year. If a devout rock fan, sees one of the new singles and downloads it for no cost and loves it. Than that folk band will have another fan attending their concert than they originally would.
       One great example was this past weekend when I worked an event for Kicks 101.5. At the end of the remote I was given free tickets to attend the concert. I enjoyed the concert so much! I have never seen either artists before that performance, but because I enjoyed their show so much, I will attend the next time they come back around!

       Commercial interests, film festivals, and government agencies were at one time managing the distribution of culture but now are allowing spreadable practices more content to circulate across national borders. This always leads to curiosity of other cultures that then turns into people investigating. This can allow cultural exchanges, understanding of common experiences and diverse perspectives. These are wonderful things that would not take place and happen if people were still be regulated. Having the flexibility allows the world to be connected and become more knowledgeable of one another.

We also delved into what a producer really is. We came to the conclusion that if something is released out into the media of entertainment and people react to it then they become the producer. The Old Spice commercial is a perfect example. The famous commercial they released was a hit with the public. The commercials following it interacted with the public by responding to comments off of twitter and such. Then the public began to reenact the commercial, making them the producer.

Every act that takes place in the media has an option of being spread unto all of the world. This is the new norm that in today’s world we have to accept and participate. 

           I am blogging about Spreadable Media's chapter 6, Courting Supporters For Independent Media by Henry Jenkins. On the first page it has a quote by Nina Paley that says, “Conventional wisdom urges me to demand payment for every use of the film but then how would people without money get to see it? How widely would the film be disseminated if it were limited by permission and fees?” I begin to wonder what I would do if I had made a cd or written a book. How would I distribute and promote my product? Some may strongly believe that you should charge for your products so you can make a source of income. I believe that it is case dependent. Many times, artists have to pay their dues and work their way up. Often times you may have to not charge so more people will be more inclined to try your new product that has no credibility.

     Although there is not just “one” model to follow, many artists now-a-days have to find different ways to stand out and be different from the millions of albums that are circulating through culture. One example of being unique is the band Radiohead

      In 2007 they released a new album digitally that was free to download. This gave their fans the option to donate money and pay what they felt the cd was worth. This shows extreme trust in their fan base yet also exemplifies that they are not amateurs any more. They have a large enough fan base that allows them to try different ways of promoting and distributing. As technology is advancing, you have to get past what is amateur. The book says, “The greatest advantage, rests in the genres who have strong fans.”

     One other practical example is the Final Four Big Dance Concert Series that presented concerts from Friday, April 5^th to Sunday evening, April 7^th. Artists from Zac Brown Band, Ludacris and Sting were all present at Centennial Park to host free concerts.

     Now thinking about valuable research, I think that when products are allowed to be free, research can be done to see which cultures and locations are tapping into their products. This a good way to launch an artist out of the amateur stage because by offering a free product, they can see exactly where they are wanted and could potentially flourish. Also, not only can they reach targeted audiences but also more diverse audiences as well.

     I never knew, but comics are also in the mix for being digitally distributed. Their goal of being independent distributors is to reach audiences that can be potential customers. Not only can comics be distributed but also music, movies, books and television.

       Amazon and Netflix are perfect examples that show evidence that the public has access to more diverse media than ever before. In 2008, the average record store had about 15,000 albums while Amazon had over 250,000 albums available. Amazon also had over 80,000 DVD titles while Blockbuster had 1,500. With Amazon allowing this much diversity to be available it allows the public to have the chance to a faster set up speed and a better cost rate. People will not have to pay to have their product “produced” and wait for Wal-Mart and Target to put it on the rack.

       Curated material is also interesting. Take Google and Apple for example. Google allows a diversity of apps to be published on their app store while Apple constrains and selects only what they think is acceptable. Many may think the “gatekeeping” that Apple does is not acceptable. Many people like to sift through and make their own opinion instead of being fed someone else’s idea of “acceptable.

     I am blogging about chapter 4 in the book Spreadable Media by Henry Jenkins. How do most people view media landscape? I believe that most people who tap into this landscape have the intention of stepping into the producer role.  Anyone who is involved in such wants to make sure they are acknowledged. “The audiences wish to inform media people of our existence.” Jose Van Dikk and David Nieborg disagree by saying that, “52 percent of people online were “inactives” and only 13 percent were “actual creators of so called user-generated content.” This does make sense because the book then goes on to say that the “majority of users are in fact those who watch and download content contributed by others.”  

         Chapter 3, on the other hand, points out that the audiences do important work beyond what the term “production” is being defined as. Some processes that are marked as “inactive” involve a great deal of labor and actually provide value. The book says, to keep in mind that even though audiences are allowed to tap into this medium and contribute that we still ought to keep in mind that their content may not be as valuable or meaningful to other audience members. I think by having a participatory culture that it allows for “evaluation, appraisal, critique, and recirculation of material.”  From your neighbor to a classmate to the person sitting next to you on the pew at church, all of them contain a different opinion and aspect of knowledge.

    Not only should a select few have reign on any particular topic but an open policy. The more culture is allowed to contribute, the more knowledge of this world will expand. “64 percent of U.S teens online have produced media. 39 percent of those teens are circulating that media to their family and friends.” The youth is the new generation of media landscape. They are the sources that teach the older generation and understand what is in demand.

    I found a website of teen girls who are pressing for more media activism.

It is called Reel Grrls  this is an organization that teaches digital media production skills and media justice and empowerment to teenage girls. The girls are involved in attending workshops that teach them how to produce short videos and to become equipped with the vocabulary and technical skills needed to speak about gender, race, and sexuality in the media. They are given the tools to distribute and to reach audiences. This organization provides a space for girls to learn about digital technology that will better them in the future to make a difference. I feel this is a positive, beneficial contribution that allows these girls to become producers in the digital era. 

     Switching to audiences and how they are many times unaware of how they can be calibrated by media industries.  The book brings up the soap opera, As the World Turns. Many fans take shows as this one and go from watching it religiously on their couch every Monday night alone, to using technologies to expand personal conversations into letter-writing campaigns, organization of fan clubs, online discussion boards and the use of blogs and podcasts. These digital productions have only widened the opportunities for this participatory audience. 

         One example of how these audiences participate in this media landscape is by one person discussing the soap opera story online in a forum about the show but later the

conversation progressed into perspectives and questions about homosexuality. This then lead to families posting their own personal stories of being abused and choosing homosexuality. Having these intimate conversations lead to online communities.  People can take on several key aspects and help it become material that drives community activism and social change.