Archive for 2008:

iJustine Tours the Internet

iJustine, the internet sensation that rose to fame with the advent of lifecasting, and who built on her notoriety with a video of an outrageous iphone bill, continues to hone her status as the internet’s prettiest geek. Her popularity of late is emphasized by Carson Daly’s decision to tap the i-celebrity for an internet-themed internet show to launch sometime in June. It appears she’s visiting all corners of the internet to drum up some excitement for the shiny new show with a stale old theme, but we’ll cross that much-traveled bridge when we come to it…



In the meantime, stay tuned for a future episode of the Internet Superstar featuring iJustine and check out her interview with TV Week‘s Daisy Whitney:





Daisy raises an interesting question.  How does one monetize internet fame?  How does the "economy of reputation" eventually convert into dollars?  In iJustine’s case, it’s been a combination of consulting and marketing services, and some blurry in-video advertising.  Presumably, Mr. Daly’s show will help too, but in a business driven by hard metrics, how do we assign value to the economy of i-celebrity?

Wankstas and Bay Area Subculture in 'Bay Life'

If you search "thizz dance" on YouTube, the first hit is a video by Rene Wachner-Solomon and Sam Fuller, a clip from the series Bay Life.  Google it and you get the same result.  For those of you unfamiliar with the Bay Area dance phenomenon, "thizz dancing" was invented by the gangster rapper Mac Dre in 2002. 

Originally associated with the drug ecstasy, thizzing has become more broadly defined, grouped together with the "hyphy" dance and music style popular in the Bay since the early 90s.  Not nearly as intricate as Soulja Boy’s Crank That, Mac Dre describes how it’s done:

I put a look on my face like I smell some piss

Bounce to the beat till it starts to hurt

Then I dust all the smirk off me shirt





This San Francisco, San Jose, and Oakland area subculture serve as the setting for Bay Life and if you know the scene, this is one web show you gotta watch.  The first thing that may strike you is the young, white protagonist, "Tre," takes the demeanor and dress of a stereotypical black gangster rapper.  The central trope and comedic device of the series is Tre’s efforts to redefine his identity, including changing his name from Saul Cohen to something more gentile.   


The first Bay Life video appeared more than two years ago, as a trailer for the show, and depicts Tre standing outside his parents’ restaurant, "Saul’s Restaurant and Delicatessen," explaining his name change.  He claims to have gotten food poisoning, which is our first hint that, for Tre, there is little distinction between imagination and reality. 



###


Following six more trailers, the first few "episodes" were released this year, but they’re short as the trailer clips, and have no unifying titles or logo.  The show, which is only available on YouTube, offers no framework from which to understand it.  It is simply a collection of short clips featuring Tre in different aspects of his life and, given his contrived "I don’t give a $%@&" persona, the absence of an overarching brand makes sense. 

The chronology and narrative are subjective to the viewer’s experience.  Some of the clips contain interviews with Tre, while others follow him during his daily life.  An Office-esque gimmick, the viewer is lead to believe that Tre is the subject of a documentary, the maker of which is anonymous.  Further blurring the lines of fiction and reality, Tre has a myspace page with more that 1500 friends. 



I spoke with Rene, who told me that Tre has been asked on dates.  "This summer, a young lady was aggressively pursuing Tre on Myspace.  I considered inviting her to my house and filming a sex video in character as Tre.  In the end, I realized there was an element of sexual attraction missing from the equation although I think seeing Tre’s camera technique might have been worth the discomfort."


It can be difficult to distinguish Bay Life from other YouTube videos which feature kids "thizzing."  Despite the Bay Life credits at the end of "Thizz Dance," this local news station used the video in a segment on ecstasy use (look for Tre at 2:10).




Rene and Tre do share autobiographical similarities.  Both went to Berkeley High and grew up in the bay.  Tre’s wardrobe and Rene’s are the same.  "Many of Tre’s stories are my own: my parents really do own a restaurant (not named Saul’s), and I really did rear-end a woman while I was eating a burrito and then offer her what remained of it."   And some stories are exaggerated or completely fabricated. 



As we are drawn deeper into Tre’s world, we realize that he’s a desperate person, struggling with his identity and acceptance in a culture that glorifies gangster rap and violent masculinity.  Is this development an elaboration of the creator’s real insecurities, or is he exploiting his experience for narrative effect?  "Obviously, Tre is a lot dumber than most individuals, so the element of autobiography only goes so far," said Solomon.


"Thizz Dance" is the most popular video in the Bay Life series, with almost half a million views on YouTube.  Even "Thug Life" which has it’s own imitator (see above) has only 100k.  It’s hard to gauge what that means to a YouTube audience, but it seems that the show could benefit from more identifiable characteristics, like a theme song or consistent credits.  But that’s a product of Tre’s search for authenticity, one which becomes more futile as the show develops. 



Will there be a dramatic resolution, or a realist denouement?  We will have to see.  Said Solomon, "There are at least three more installments of Bay Life yet to be released as well as some other smaller clips.  I think the most interesting developments in the story are yet to come."


My Uncensored Interview

Uncensored Interview is a platform designed to find out what happens when indie musicians stop being polite….and start being real. In relaxed environments, away from any fan, pre, or post-performance-induced hysteria, artists unassociated with major labels (The Kills, The Whigs, Hopewell, hundreds more) casually discuss whatever the hell they want to casually discuss (fickle American fame, influences, censorship, sex).

No bleeps. No edits. Just raw access to a section of the music biz neglected by mainstream media coverage.

It provides a way for fans to see their favorites outside the limelight, but Uncensored Interview also plays the part of new media sociologist. The site is a video catalog of findings in an ongoing investigation to figure out exactly wtf is this ambiguous entity called “indie music.”

To aid their inquiry, Uncensored Interview has solicited those outside of music and inside the internet to offer perspective. A couple weeks ago I met up with a camera crew to give my take on web video, pornography, history, and how being Jewish is a lot like playing a gig at Pete’s Candy Store.

Selling Books and Internal Organs on 'Foreign Body'

Foreign Body is the 50-part online video prequel to the eponymous upcoming novel by bestselling author Robin Cook – a doctor, who, like John Grisham and his legal dramas, has combined penning thrillers with his medical profession to great success.
 

The show was produced at a breakneck pace by the Michael-Eisner-backed new media studio, Vuguru and web video auteurs, Big Fantastic, who are no strangers to bloodstained dramatic series (the two created Prom Queen and Big Fantastic got internet notoriety after making Sam Has 7 Friends). The first episode premiered today:

 

This is no home set operation. In 24 days of shooting, the crew jetted from Delhi to LA to Malibu, using the big studio resources to put together a sleek, hard-hitting artillery of two-minute webisodes designed to leave viewers in suspense. Presumably, a true mark of the show’s success will be whether it hooks its audience enough into the world of “medical tourism” – seeking discounted surgery and body parts in high risk locations abroad – that they’ll pick up Cook’s book to explore it further.

Vuguru has also developed an interesting business model.  They created an elongated advertisement for a novel that, in turn., is sponsored by a car company.  Honda Ads can be seen across foreignbody.tv‘s header and drive the message that niche entertainment brands, not shows or books or print alone, are the next-generation entertainment product.

###The initial episode certainly hits the right notes – the production values of a reported  $10,000 per minute, beautiful women, bathing suits, and fantastic landscapes provide enough eye candy to satiate the audience through a tightly-spun, and so far elusive, storyline.  It’s consistent with Big Fantastic’s MO.  Throw some sexy into a complex story where murder is no stranger, and then slowly feed the audience intrigue, a minute or two at a time.

But are online video junkies the target here? Will the series be judged by how many of us peel our eyes away from the video screen to preorder on Amazon after watching, or will the series make rabid Robin Cook readers flock to the web?  And if the series does sell more books or bring more readers online, will publishing houses soon need to employ video production teams?  Will we start to see books that promote a web series?

We’ll find out some answers to our questions on August 5th when the series concludes and ‘Foreign Body’ the book hits the shelves.  

IFC and Nerve Present 'Young American Bodies'

Young American Bodies is like that MTV series Undressed, except young adults replace the college kids, varying degrees of hipster replace more obvious archetypal characters, and actual nudity replaces tight clothes. The soft-core soap opera bubbling with self-indulgence is the product of independent filmmaker Joe Swanberg and sexy online magazine Nerve.com.

Alongside Sex Advice From… and other Nerve originals, Young American Bodies debuted in the Summer of 2006. In the past two years, the series has gone through two 10-episode “seasons,” been downloaded millions of times, and attracted cable one cable network to produce 12 more episodes.

Following Wilfred the Pot Smoking Dog as the second series in its The Internet! is Always On! campaign, IFC released the Young America Bodies season 3 premiere. (Warning: There’s some guy/girl action.  Light petting.  Sans shirts.)

###Swanberg told Fleshbot that he found a lot of the Chicago-based cast on MySpace and then developed the show around their lives and stories. The real-people premise coupled with long takes and awkward silences creates a series where the interactions within this web of 20-somethings feel uncomfortably natural.

Maybe that’s why I don’t love it. The series watches too much like actual Williamsburg, Brooklyn relationships I try to distance myself from. When it comes to seeking entertainment based on the type of culture I live in, I much prefer parody.

Al Jazeera Battles for the Hearts and Minds of Americans

Like many Americans, I suffered for weeks following election night 2000. Throughout the recount, I watched the news with an unflinching devotion; the major networks – NBC, CBS, ABC, FOX, CNN – pulled on my heartstrings with reports of errors concerning exit polls, butterfly ballots, punch cards, old people, etc.  I feared not only for the future of our political system, but also for my health, which had been ravaged by insomnia, anxiety and the wound in my back where American democracy had stabbed me with an ice pick. 

All these symptoms pointed to one diagnosis: I had become a news junkie. I thought only of politics, and the news dictated my every move; I woke to news radio; I worked with CNN/ BBC/ C-SPAN blaring in the background; I read newspapers with meals, and I talked electoral politics with anyone who was kind enough to indulge me.

Some eight years later, I’m disappointed to report that I have not overcome my addiction. In fact, I’m much worse off; with the advent web 2.0 and web TV, it’s easier than ever to get a quick fix. Like any junkie, I’m always game for new suppliers entering the market. Recently, I was introduced to a foreign dealer, who is relatively new to the English-language market, but offers an unparalleled product, i.e. Al Jazeera English (AJE).

The channel stays true to its motto, “the opinion and the other opinion.” For those who are new to viewing (or using) foreign news, I offer a warning; even if you put your political beliefs aside, this is potent stuff:

###Al Jazeera, which means “the Peninsula” in Arabic, seeks “to be the English-language channel of reference for Middle Eastern events, balancing the current typical information flow by reporting from the developing world back to the West and from the southern to the northern hemisphere. The channel gives voice to untold stories, promotes debate, and challenges established perceptions.” 

With headquarters in Doha, the channel has broadcast centers in Kuala Lumpur, London, Washington DC and is distributed to more than 100 million people worldwide. However, if you live in the United States, AJE is most likely not offered on your cable plan.

As discussed in a recent a New York Times article, “the reputation of its Arabic sibling as the preferred outlet for videos from Osama bin Laden has made the English-language version too hot to handle for some cable operators. A lack of space on crowded cable systems has also made it difficult for operators to offer Al Jazeera English.”

Indeed, Al Jazeera has encountered its fair share of disputes with the U.S.  During the invasion of Afghanistan in 2001, the U.S. bombed Al Jazeera’s bureau in Kabul (an unfortunate accident, claimed American officials). Two years later, the channel’s Baghdad office was hit during a U.S. missile strike (again, a tragic mistake). In 2004, the British press reported that President George W. Bush expressed his intention to bomb Al Jazeera in a memo addressed to Prime Minister Tony Blair (clearly, officials said, Bush was joking). And recently in May 2008, Sami Al-Hajj, a cameraman for Al-Jazeera, was released from Guantanamo, where he had been held as an enemy combatant since 2001 (again, just a mix-up).

While AJE struggles for acceptance among American cable providers, it currently offers a huge portion of its material on YouTube. The channel has been viewed over a million times and offers its web audience over 40 different programs, ranging from political reporting to sports coverage:

AJE provides viewers with a combination of high-quality journalism and an unfamiliar perspective. Even as a long-time news junkie, I still found a large portion of AJE’s content to be disturbing and incendiary. It’s power to evoke discussion and controversy is married to its success as an up-and-coming news provider.

This junkie recommends AJE for the experienced user, or those who are looking for a shocking and demanding challenge.

 

Network Inflection

Hear that thud?  It’s the sound of network TV finally hitting the ground in defeat.  The Los Angeles Times reports on the "painful meltdown of the broadcast-TV industry" which, since it’s inception almost seventy years ago, has seen a rapid rise in competitors from three networks to thirty cable channels to hundreds of digital cable channels to, now, countless and exponentially growing internet offerings.



So how will the time-tested broadcast networks shift their resources to compete in the new TV paradigm, and how quickly should they do it?



Let’s be clear. Independent internet-TV does not yet pose a threat to the likes of a hulking NBC, but cable networks, which can count on subscription fees in addition to advertising, are cutting into the big boys’ audience and profit margin.  An onslaught of accessible, professionally produced content on the internet will certainly impact the big TV networks in a major way.  But keep this in mind: production and distribution have been democratized.  Marketing is still a valuable component of the equation.



Instead of creating yet another of countless outlets on the web, TV Networks should focus on their distinctive competencies by devoting robust programming, marketing, scouting and creative infrastructure to the development of cross-network niche-content.  Jeff Zucker, head of NBC-Universal, who recently spoke of the network’s future on Charlie Rose, seems to agree…




But how quickly, and to what degree, cross-distribution continues to support (as opposed to cannibalize) network broadcasts, is anyone’s guess. There’s big business in small(er) TV. Companies like NextNewNetworks, Revision3, 60Frames, OnNetworks, Deca, ForYourImagination and Vuguru are developing the new marketplace of infinite channels, but established networks walk a fine line between embracing this market and continuing to profit from the older (dying) one.

Topps Baseball Card Company to Star in Vuguru Web Series

A 1979 Ozzie Smith rookie – with The Wizard sporting some sick sideburns leftover from the middle of the decade and a Padres jersey that looks so retro cool – was my first introduction to baseball cards. Forgotten by my big brother, I found it a corner of his closet, tucked away from possible admiration with a mess of other cracked and creased pieces of cardboard picturing the visages of prepubescent fantasies.

My exit occurred with thousands of others like me. In the early ‘90s a teeming children’s pastime grew into an adult industry, fat with new products, bloated with frustratingly exclusive price points, and swollen beyond appeal.

But between those moments and, really, until I started caring more about girls than Ryne Sandberg (a relationship litmus test I still refer to from time to time), my dreams were made of wax packs, stale, powdery bubble gum, and baseball cards.  Topps TV looks terrifying to me now, but that freakish delight at ripping open foil wrappers resonates with my 12-year-old self.

Ex-Disney CEO Michael Eisner knows my passion well and was shrewd to recognize its potential. Last March, he bought the Bazooka bubble gum and baseball card company that manufactured my nostalgia for $385 million. When the New York Times asked him why, Eisner answered:

“Topps is a brand that’s in the brain-waves of about 70 years of the American male. I can take that affinity and turn it into a sports-media company. Topps has many assets, and Bazooka has Bazooka Joe, and I could have fun making a Bazooka Joe movie.”

Now he’s starting to make moves with the acquisition. Read On…

Workflow with Rox

Roxanne Darling, creator and star of Beachwalks with Rox, and her partner/former-secret-cameraman, Shane, have been creating video for the internet since before the medium had a recognizable name, community or industry. 

Their ingenuity has been prolific – to date, the duo has created a whopping 627 episodes of Beachwalks – and they’ve become leaders in the community, always sharing interesting insights and initiatives. 



On April 22nd, Rox posted a video of the question that faces most internet-video entrepreneurs: What’s more important, production value or creativity (she posed it as “people or gear”)?   Of course, the unanimous answer from her esteemed Internet-video interviewees was…PEOPLE!




###High production value can be an important story-driver in some situations, but as we’ve seen time and again with successful internet-video enterprises, story drives craft, not the other way around.  A skillful application of a simple technology (i.e. text) is more moving than haphazard application of state-of-the-art effects (i.e. insert grossly overbudgeted, terrible Hollywood movie here). 

Story should drive production value.  If you can’t afford high production value, find a concept that can move without it. 



I recently had the pleasure of attending Rox’s Video Podcast Workflow Tips at PodCamp NYC, which she’s been kind enough to post in text form on Barefeet Studios’ website.  They’re simple tips for organization and productivity, and they’ve honestly cut about ten minutes from my video editing process.



Mahalo, Rox! Thanks for the great info!

The Wingmen Go To Eleven

For the sake of relationships in and around the University of Texas, it’s a good thing that ‘The Wingmen’ are no longer on the air. 

The fictitious trio of love gurus – ladies’ man Zach, temperate Jordan, and romantic Chris – hosted a college radio program in which they dispensed invaluable Deary Abby advice like, “find little ways to disappoint her and if you make a point of, everyday, doing one thing to make her sad…her expectations will drop to the ground.”  Their knowledge of women was suspect, but their radio show was award-winning, so they became the subject of a made-for-the-web mockumentary, The Wingmen.

Created by a handful of UT students and inspired by real-life events (part of the crew actually did have a real college radio program, but after one semester and roughly two listeners, weren’t welcomed back into the booth), the show chronicles the compounding misfortune of this crack team of romance “experts.”

Their call-in radio show gets the boot after Chris gets dumped on air, screams a series of expletives that would make Bill O’Reilly blush, and receives a hefty indecency fine from the FCC.  The crafty kids then start an online dating service to raise some cash and it’s all captured through the lens of wannabe “documentarian” Marshall Rimmer.

The Internet has seen it’s fair share of mockumentaries, the genre popularized by Rob Reiner’s Spinal Tap and brought to us weekly by The Office.  And that makes sense.  Folks producing fiction for the web are often strapped for cash, and the easiest way to deal with low-budget production value is to make that part of the appeal.
Read On…

Collaborative Call-in Media

Wreck and Salvage and Lindsay Campbell aren’t the only ones giving out their phone numbers.  Dan Meth, of Frederator‘s Meth Minute 39, the internet’s most awesomist animator (who Josh interviewed a while back) has been sporting his slick 866-number for months.  Why?



Meth repurposes a series of outlandish to banal voice-messages left on the official Meth Minute Message Machine with that signature color, style and smirk.





Call it now! 866-575-1384 and maybe your voice can make it into the next collaborative installment.



Ah, what we accomplish when we work (and play) together.

Those Arent Muskets' Internet Party 2

Sequels are hard to pull off. Caddyshack II, The Next Karate Kid, Book of Shadows: Blair With 2, and the second Charlie the Unicorn taught us that. But Those Aren’t Muskets makes it look easy.

Four months after they hosted their first Internet Party – a sketch created for Cracked.com that anthropomorphisized Web 2.0 companies, giving them the bodies and proclivities of college coeds – Those Aren’t Muskets and Cracked today released Internet Party 2: An Intervention for MySpace. Read On…