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Jamal Runs A Successful Small Business

Jamal Runs A Successful Small Business – How do YouTubers see Jamal Edwards? Their photos may be small, but YouTube stars are getting bigger and even making money. Ryan Gilbey enters the world of do-it-yourself television

Tucked away on a cobblestone corner in London’s Covent Garden, the Apple Store is like Apple stores everywhere – a neat, clean, brick-and-glass room. Except that it was once the site of the old Rock Garden, where new punk bands (UK Subs, The Damned, Undertones) played to raucous fans. No need to be sentimental about his death. This will happen; this is a change. A middle-aged man can look into the garden and see the past. They think, or some think, “When I was young, all the Rock Gardens were around here.” Tanya Burr, a 24-year-old video blogger or ‘vlogger’ who organized a meet-and-greet outside the Covent Garden Apple store earlier this year, can look back at the nostalgic scene and see the fun and excitement. potential. He can see the future.

Jamal Runs A Successful Small Business

Jamal Runs A Successful Small Business

Burr, a former cosmetics assistant in Norwich, has been uploading weekly videos to her YouTube channel for the past four years sharing makeup tips. (Unlike a TV channel, a YouTube channel is an online repository of individual videos that fans can subscribe to, much like following on Twitter. Both activities are free.) Burr recently passed the one million subscriber mark; By comparison, Ricky Gervais has nearly 330,000 subscribers on his YouTube channel.

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Gervais doesn’t upload new material as often as Burr. Maybe he is busy with other things. But it’s important that one of British TV’s biggest stars earns less than some YouTubers – whether it’s Burr or a young media mogul like Jamal Edwards, who founded the music and comedy platform SB.TV. In the future, Burr, Edwards et al. All content offered is free, immediate and ubiquitous. It takes a vlogger all morning or afternoon to make a video. It loads in seconds. Subscribers can leave comments instantly. Comments are mostly compliments, but they can also be critical or suggest other topics for future videos – all of which should be answered by the YouTuber. Know your audience, incorporate their ideas, and you’ve automatically included them in the creative process: they’re yours.

Tanya Burr is running between business meetings, but still has enough time to talk to me on the phone. He told me about the Apple Store event in May; Thousands of people were so eager to meet him on the serpentine streets of Covent Garden that the area was almost impossible to enter – even, he said, dangerous. He had to cancel his trip immediately. “Some people are like, ‘Oh, maybe a hundred of them are your followers and the rest are just passers-by,'” he said. “Okay, maybe some are past, but if you look at their faces, they’re mostly teenagers, that’s my demographic.”

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It’s understandable that Burr dismissed the skeptics: He’s worked hard to get where he is. A YouTuber’s relationship with subscribers is developed over weeks and years using all available tools. The rewards are many: complete creative freedom, peer approval… and money, too. Monetizing a YouTube channel means allowing ads to be placed at the top of each video and making the creator part of the YouTube Partner Program; The revenue is then split between the creator – now the “partner” – and YouTube itself. The company won’t reveal exactly what the split is, as it varies from case to case, but Zaina Aston, YouTube UK’s head of communications, told me that “each of the partners gets a large share of the revenue.” (Online messaging forums split 55/45 in favor of the affiliate.) The more views the video gets, the higher the earnings. No Monetization Entry Level: YouTubers can sign up from their first video as long as the content they upload is completely original. The first payments are sent when advertising revenue reaches around £100. Burr’s channel is one of thousands of YouTube channels that can make a six-figure income.

The audience is global. In America, YouTube superstars – those in the 10 million-plus subscriber club – include Ray William Johnson, who provides hilarious commentary on viral videos; comedian and sketch star Ryan Higa, aka nigahiga; and irreverent Smosh duo Ian Hecox and Anthony Padilla, who scored an early hit with a video mimicking the Pokemon theme. In the UK, the most successful vloggers are usually white, male and middle-class, with smooth faces and shiny hair: Charlie McDonnell (charlieissocoollike), Thomas Ridgewell (TomSka), twin brothers Jack and Finn Harry (jacksgap), Dan. Howell (danisnoton ot). Between them, they include most of the evergreens of YouTube: comedy sketches, monologues, oz. Flag inspiration, if food problems – eat a tablespoon of cinnamon, say, or rush 20 Ferrero Rochers – usually works.

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When I first approached Zaina Aston about talking to some vloggers, I thought they would be over the moon at my request. In fact, I think they are scared because a print journalist wants to interview them. Then it hit me. Exposure is something they don’t need. And they have it: it exists in a hidden world from the perspective of most 30-somethings. “They’re happy to talk if they have time,” Aston told me softly. “But you’re right. A lot of YouTubers have audiences that rival the big circulation [newspapers].” Each of these vloggers has more than 2 million followers and has reached a level of popularity where it can be unwise to enter public places unaccompanied. They are pop culture’s secret Biebers, its one-man One Directions.

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As a 42-year-old father, I’m about as far from my target audience as the Zoetrope on my iPad; I’m not interested in most of their work, and I don’t want to be. Part of the problem is that YouTube uploads 100 hours of video every minute. Plowing it without a guide is like looking for a needle in a million haystacks in a hall of mirrors. Young users can find their way through the site, but then we’re talking about people who can see in the dark at Hollister.

Any adult who spends time browsing vlogs can gnash their teeth at technical tics (incomplete jumps, allusions to other YouTube videos), creative flaws (sketches that call for a good script editor). obligatory mannerisms (a degree of self-deprecation that makes Hugh Grant look like Lee Marvin). There are exceptions: I admire the work of 25-year-old Kian Mansley, a difficult character, a gendog, a killer time and a real road. Her videos can be a bit silly at times – Violent Baguettes is a bread-and-butter-based parody, while All Cars Are Girls sees her breaking convention by naming her new car after a man, and thinking of what’s next. , as in his serialized special story The Intern. But overall, watching YouTube videos doesn’t compare to the joy of watching a carefully curated TV show with obvious layers of artistry. I’m not looking forward to The Sopranos or Breaking Bad, but I can’t wait for The Mighty Bush?

Jamal Runs A Successful Small Business

Even the most polished vlogs seem oddly incomplete. Sometimes there are vlogger confessions about how he is afraid of being in public and really wants to be loved – listen to thousands of pleasant comments from the audience. This is fishing to compliment the industrial trawler. But when a young woman from Norfolk has more viewers than Ricky Gervais, it seems vloggers are doing something right. According to consumer analysts Nielsen, YouTube reaches more American adults 18-34 than any cable TV network.

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The most famous vloggers have reached a level of popularity that it can be unwise to go out alone in public places. they are the secret Biebers of pop culture, its One Directions

Reports of the death of traditional television may be greatly exaggerated – it always kills moments from events like Downton Abbey, the X Factor finale or the Superbowl – but some of its signs seem less vital. As of 2001, the UCLA Center for Communication Policy found that Internet users watch 4.5 hours less television per week than their offline counterparts. In June, the BBC admitted that more than 428,000 British households claimed to have been exempted from the license fee last year because they no longer used TV to watch live broadcasts. This figure is only around 2% of the UK audience, but it still represents a much bigger spend

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