|Reception:||Cable , satellite|
|Owner:||VIVA Media AG|
|Executive Director:||Dieter Gorny|
|Start of broadcast:||March 21, 1995|
|Closing date:||January 7, 2002|
|Legal form:||Private law|
|Program type:||Special program (music)|
|List of TV channels|
VIVA Zwei (formerly VIVA II ) was a German music television broadcaster , which began broadcasting on March 21, 1995 and ceased it on January 7, 2002 in favor of VIVA Plus . As an offshoot of VIVA , the station was initially geared towards viewers over the age of 25, before turning to a younger audience belonging to the alternative scene .
VIVA Zwei as an adult contemporary channel
The station went on air on March 21, 1995 at 12:00 noon under the name VIVA II . The establishment is considered a backlash to the eleven days prior to the launch of VH-1 Germany , which, like the declared VIVA competitor MTV Europe, belonged to the Viacom group, but was also designed by Me, Myself & Eye Entertainment GmbH , the previous founder and was a partner in VIVA. It was not least because of this conflict of interests that the then VIVA managing director Dieter Gorny announced in October 1994 that the competing product VIVA II be set up at the same time.
Music videos and music journalistic formats with a predominantly retrospective character were shown for an adult audience that could not be reached with the first channel. The proportion of older video clips in the playlist was around 65% at the time. Steve Blame , former MTV Europe's news presenter, was the program director .
The station appearance, which was awarded by the Art Directors Club, was clearly based on the parent program, which for example was due to the logo, the often playful opening sequences or the fact that the theme music for the soul and jazz format SoJa bore the signature of VIVA presenter Stefan Raab , applies.
This changed on May 1, 1996. Since then, the new logo has been represented by a cross, which was displayed at the bottom left of the current program with the program title highlighted in color. The title sequences of the programs became more abstract, dispensed with the now redundant naming of the program, were reduced in color (which influenced the choice of color of the display at the bottom left) and enabled the seamless integration of the VJ by moving the camera with the help of blue screen technology. In addition, the custom spelling has been changed to VIVA ZWEI .
This went hand in hand with a profile adjustment: The aim now was to prepare current developments in pop culture in a way that is appropriate for the target group and only in the second step to establish references to the past. For this purpose, the proportion of older music videos was limited to approx. 30% and the use of the Internet in the program was tested, which was primarily done in the Connex program .
The new station presence was accompanied by a poster and advertising campaign at the end of 1996, which was boycotted in Bavaria and by magazines such as Amica due to the provocative motifs . From July 4, 1996, VIVA Zwei initially switched on its own teletext service on a trial basis. Noticeable was the board 100, which was transparent on the edge, which made it possible to continue to recognize the program title on the VIVA-Zwei logo at the bottom left of the current program. The means of enforced transparency is mainly used by other German-speaking teletext providers for news tickers (mostly on teletext board 111) and program information (board 333).
The transmitter - like VH-1 - has always been operated in deficit, but VIVA Zwei was considered to be "more successful". While VH-1 maintained its own positioning for a few more years with little staffing and almost free of moderation, VIVA Zwei decided to turn away from the adult-contemporary format. In January 1998 the intention was declared to turn the station into a music journalist home for supporters of popular subcultures between 18 and 29 years of age. An advertising campaign under the motto It's Music was launched in March of the same year in order to make the previous target group aware of the station's relevance in the German music scene.
VIVA Zwei as an alternative transmitter
The repositioning came into effect on September 7, 1998 at 3:00 p.m. when, under the motto Die Wende! the transmission signal was rotated 180 ° for 24 hours. The previous on-air design was retained in principle, but revised to suit the target group. The program notes, which were previously heavily typographical and also worked with large areas of color and video clip excerpts, were now provided with image and sound disturbances and often provocative content: For example, willing women in lascivious poses advertised various chart programs. Instead of in front of a green screen, the presentations were now usually recorded in a real studio.
Most of the moderators were replaced at the same time. Soap actors like Berrit Arnold or experienced music journalists like Axel Terporten have been replaced by unknown, younger, inexperienced faces. So from 1998 Charlotte Roche established herself , who initially led the program Fast Forward together with Nkechi Madubuko as a simple announcer , before developing this format into a highly regarded personality show with producer Eric Pfeil . Niels Ruf also made waves with his show Kamikaze , which explored the limits of political correctness . A counterpoint to these two shrill personalities was Rocco Clein , who read the latest news from the music world in the news (and from 2000 in the weekly review news KW ) in an elevator and in a suit in a traditionally factual way.
The musical focus of VIVA Zwei was on indie rock , alternative hip hop and electronic music . VIVA Zwei saw itself as a platform for aesthetically sophisticated video clips by established and new artists. Genres in which the music video was not used as a mass medium (because the pieces would be too long and demanding for conventional music television, for example) were nevertheless taken into account on VIVA Zwei: In 2000, the 2Step format was created in which DJ sets were made by VJs ( Visual jockeys , not to be confused with video jockeys ) were supported.
At the beginning of 2000 the station made a loss of 5 million D-Marks; however, they saw themselves in a “double-digit” growth. The activation of the station on the Astra satellite on February 1, 2001 resulted in costs of DM 12 million. The losses could only be compensated by the profits of the sister station VIVA .
In February and March 2001 the plan to broadcast the previous VIVA-Zwei program from 6:00 p.m. to 6:00 a.m. on VIVA was presented. This new main program was designed under the project title VIVA Plus . The VIVA-Zwei frequency should therefore be used for an entertainment channel for young people, on which feature films, soap operas, a talk show with Charlotte Roche, a late night show with Niels Ruf and only occasional music could be shown.
In fact, this plan was ultimately rejected: On October 4, 2001, the discontinuation of VIVA Zwei was announced. The name VIVA Plus should no longer be used for the main program, but for the successor station of VIVA Zwei.
VIVA Two presented on 1 January 2002 the regular transmission mode and was on 7 January 2002 at 13:00 by VIVA Plus replaced. From January 1 to 7, 2002, music videos were broadcast in an endless loop and only interrupted by advertising. In the long term, only Fast Forward (until 2005) was included in VIVA's main program, individual formats such as Overdrive and Twelve continued to exist with VIVA Plus for a while, and almost all other VIVA two programs were discontinued immediately. The previous editorships continued to work for VIVA Plus for the time being, before the station was converted to an unmoderated format in autumn 2002.
The shutdown of VIVA Zwei was seen by media critics as evidence that a private TV station with content outside the mainstream was not viable. The former VIVA-Zwei presenter Markus Meske explained that the broadcaster, even in its alternative incarnation, should only strategically attack its competitor MTV at short notice; there was never a substantive motivation on the part of the broadcasting line. With Onyx.tv introduced in September 2004, a further independent music station a broadcasting.
In November 2003, VIVA Media AG was considering the return of VIVA Zwei on a digital platform with additional specialty channels.
In April 2005 VIVA Plus took the programs 2Step and E-Beats (formerly Electronic Beats ) back into the program. At that time, formats programmed in music journalism were increasingly being developed again. In the course of the takeover of VIVA Media AG by Viacom , however, this was revised again in July of the same year in order to again focus more on Get the Clip and, for the first time, on call-in competitions .
Until February 1, 2001, the station could only be received via satellite from the Hotbird position 13 ° East. Subsequently, VIVA Zwei was distributed analogue and digitally via the Astra fleet. In addition, VIVA Zwei was fed into the cable network in many regions. Unlike VIVA, VIVA Zwei had to share the station space with other channels more often. At the beginning of 2000, according to the station, 24 million households could be reached.
With VIVA Two had Thees Uhlmann know his first appearance on German television and learned his longtime girlfriend Jessica Timm.
- Duel in the music market . In: Der Spiegel . No. 44 , 1994 ( online - 31 October 1994 ).
- Say Do Do . In: Der Spiegel . No. 48 , 1994 ( online - Nov. 28, 1994 ).
- Fast sex . In: Der Spiegel . No. 52 , 1996 ( online - 23 December 1996 ).
- poorsofreign: VIVA Zwei (UK Charts promo). June 28, 2010, accessed March 30, 2016 .
- Matthias Gebauer: First highly praised, now settled. In: Spiegel Online. February 22, 2001. Retrieved November 29, 2014 .
- "VIVA was a commercial monster from the start." In: justmag.net. Archived from the original on December 13, 2007 ; accessed on May 18, 2017 .
- Viva TV wants to start digital package - return of VIVA Zwei. In: www.satundkabel.de. November 4, 2003, archived from the original on July 15, 2004 ; accessed on December 30, 2014 .
- T. Uhlmann: Die Toten Hosen. Cologne 2019. p. 102.