In light of the recent DaddyOFive controversy, Tama Leaver and I have a new commentary out on The Conversation, reproduced below. In this piece, we call for greater transparency in labour laws and guidelines when young children are increasingly engaged in for-profit social media. Continue reading When exploiting kids for cash goes wrong on YouTube: the lessons of DaddyOFive
Last week, Wall Street Journal (WSJ) published an article and accompanying video accusing 27-year-old Swedish YouTube Influencer Felix Kjellberg, better known by his moniker PewDiePie, of publishing “anti-semitic posts”. In a media ecology saturated with Influencers, wannabes, and old/traditional/legacy media attempting to shift into digital spaces, this news is significant as PewDiePie is among the most watched, renown, and viable icons in the digital Influencer industry, being the most subscribed and highest paid YouTuber in 2016. In the wake of these accusations, PewDiePie’s network Maker Studios (recently bought over by Disney) and his platform partner YouTube Red dropped him from their stable, terminated his upcoming series, and removed him from their advertising programme.
I am an anthropologist who wrote my PhD on the Influencer industry, having observed the scene as early as in 2007 and investigated it professionally since 2010. I published extensive case studies and academic research on the culture of Influencers, including the shifts in trends and practices over the years. In this post, I extrapolate from the PewDiePie-WSJ scandal alongside reactions from prominent YouTubers to discuss Influencers on YouTube, their cultural vernacular and community norms, their relationship with legacy media, and their potential as new weaponized microcelebrity. Continue reading YouTuber Influencers vs. Legacy Media: PewDiePie, Weaponized microcelebrity, and Cross-media politics
This is the Pen Pineapple Apple Pen (PPAP) song that started amassing virality around 25 September 2016, despite being published on YouTube a month earlier on 25 August 2016. This is the tutorial from its original artist, published on 26 September 2016 in response to volumes of covers, remixes, and parodies being produced as the song approaches the climax of viral fame.
The ‘official’ backstory, according to the wisdom of throngs of popular media articles churned out this week, is that the artist in the video is Piko-Taro, a fictional character played by entertainer DJ Kosaka Daimaou, whose is actually a 51-year-old Mr Kazuhiko Kosaka. His character Piko-Taro first began life as a stand-up comedian at live shows. (For those of you who are in-tune with YouTube or Influencer culture, think Miranda Sings as the fictional character played by microcelebrity Colleen Ballinger who goes by the handle ‘PsychoSoprano’ on the internet. See also here.)
Piko-Taro started his YouTube channel on 23 August 2016, posting short songs while dressed in his now-signature gaudy fashion and wig, with flamboyance in tow. The virality of his debut PPAP video was facilitated by digital user-generated humour platform 9GAG on its Facebook page. In the wake of his recent virality, Piko-Taro has been retweeting and responding to some followers in a smattering of English on his Twitter, which was created just months prior in June 2016. He is on Facebook here.
In this post, I discuss the circulation of PPAP, the value judgments made about it, its characteristics and predecessors, and the potential future of Piko-Taro.
(This was first published on Cyborgology on 24 August 2016.)
Pretty things are pretty to look at. They bring you comfort, inspire aspiration, or perhaps stimulate vicarious consumption. But have you ever stumbled upon something gross on the internet and yet could not look away?
Me too. (It’s no wonder Dr. Pimple Popper has over 700 million views on YouTube.)
“Picture perfect” Influencers have been thriving on social media ever since they burst into the scene in the early-to-mid 2000s. Having first begun on blogs such as LiveJournal, OpenDiary, and blogger, these self-made internet celebrities have since transited to monetising the presentation of their everyday lives on various social media including Facebook, Twitter, Instagram, YouTube, Twitch, and Snapchat. Perhaps most representative in the popular imagination are “Instagram Influencers” most known for their conscientious poses in pristine locations, luxury-esque conspicuous consumption and savvy internet relatability in tow.
But this economy of the perfect, pristine, and picturesque is growing saturated and fast becoming boring.
Enter “grotesque microcelebrities”.
Last week, I spoke with a reporter regarding the Internet virality of Michelle Dobyne. They intended to run a ‘where are they now’ follow-up piece on Dobyne’s life post ’15 minutes of fame’. In the end, the TV clip and its companion article condensed our 8-minute interview into these anonymous soundbites:
“We asked a noted social media expert what makes a video viral worthy. She said catch phrases and exoticism, something that takes us away from our routine lives.”
“Our expert said what Dobyne and other viral video stars are able to do long term with their 15 minutes of fame is anyone’s guess.”
Since much of what I had to say about eyewitness virality, racism, and journalistic responsibility did not make the final cut, this morning I transcribed my conversation with the reporter and wrote it up for this blogpost. Continue reading Eyewitness virality, Racism, and Journalistic responsibility