Eps 1: What Stalin Can Teach Us About The Creator EConomy
— Hot Takes on The Creator Economy
| Host image: | StyleGAN neural net |
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| Content creation: | GPT-3.5, |
Host
Gail Sullivan
Podcast Content
Mainstream platforms such as Facebook and YouTube have begun to catch up by launching creative funds and incorporating monetization and shopping capability into their platforms. The social media giants are also developing their own versions of the creator economy to deter users from fleeing to new, smaller platforms.
Last year, TikTok launched the Creator Fund, which pays TikTok users for popular content. Instead of companies selling advertising based on engagement, the creators pay their individual viewers to buy subscriptions, send tips, and crowdfund new projects. Payouts from the TikToks Creator Fund are determined by engagement and views, while YouTube pays creators 55% of the advertising revenue to show their videos, giving creators incentives to produce content for a wealthy, ad-friendly audience.
Instead of trying to play social media algorithms, creators can rely on reliable revenue from supporters. The economy of recognition allows creators to focus on developing niche content for their biggest fans, which is beneficial for platforms because they can earn a cut without attracting creators to do too much work.
Creators of these platforms can find alternative ways to generate revenue, such as influencer marketing and sponsorship deals. You can also do direct monetization on YouTube, which is called creative monetization. Other platforms that help creators such as Tumblr and WordPress Bloggers, Twitch Mixers and Livestreamers, Instagram and Pinterest photographers and YouTube and TikTok filmmakers.
Platforms like Ko-Fi and Buy Me a Coffee give creators a platform to ask fans for five dollars. They allow creators to reach their maximum audience, do not require advance payments and offer fans an opportunity to support the creators.
These platforms allow creators to sell this kind of interaction with fans. In addition to the traditional platforms used by creators to reach audiences such as YouTube, Instagram and Facebook, there are also new platforms designed for creators such as subscription-based services such as Patreon and Subsack.
These platforms encourage creators and consumers to explore and develop niches. They establish completely new customs, strengthen the creative middle class and broaden the path to success. Michael offers us more than just creative platforms on the opening day.
For starters, many grassroots communities of creators have sprung up on platforms that do more than allow creators to connect through emotional support, collaboration, and education. Writers, musicians, filmmakers and other content writers can share their creative visions with an appreciative audience. Creators can see their value on these platforms, see it and join us in our creative heaven.
The creative economy is the ultimate opportunity for talented people to express themselves and earn income. Creators should focus on their art and technology platforms doing the rest.
The phrase "Creator Economy" is included in everything from TikTok stars and Twitch streamers to adult content authors and websites like OnlyFan. Today, we look at the term and talk about how it changes not only the business world but also how people think about democracy, misinformation and the anti-vaccination movement and who they trust. Advocates call the creator economy a grid of new platforms and tools designed to serve the creators, but not everyone agrees on what the word means or what it means.
The growth of the creative industries depends on sufficient demand for their niche services, which in turn increases supply and justifies the creation of many specialised niche platforms. Platforms such as YouTube, Instagram, iTunes, Spotify, Twitter, Medium, Twitch, TikTok, etc. Help creators discover and establish an audience by investing heavily in their recommendations and curation algorithms. They also solve the distribution problem for creators.
Li's newsletter Substation created an interesting diagram that summarizes the multitude of vertical and specific work platforms that have emerged in the age of the creative economy. Lightspeed Creators Economy's investments include cameo platforms known for bespoke video messages to celebrities sold to fans, outschool marketplaces and online courses.
The creators of platforms like Facebook are trying to be dangerous predators, luring the very people they ignore with ads. He realizes that if you join the creator economy built on the Web in the 1930s, and stick to the old model of exploiting creators, the end of the next Myspace will join Facebook.
Writer Michael Thompson tells the story of his girlfriend, who was frustrated by the platforms on which she wanted to write. Publishing led to some major business publications publishing their works, which led to book deals.
Andrei Kropotkin cites many such cases in his book The Whisperer about Stalinist culture, including Nikolai Sakharov who ended up in prison for deceiving his wife, Ivan Malygin, who was denied of his success, and Lipa Kaplan, who was sent to a labour camp for 10 years after refusing her boss's sexual advances.