The End?

Anas Iskander's vlog of the Uturn Breakfast, a celebration of Uturn's 5th anniversary attended by numerous members of the Uturn Family in July 2015.

It's been 5 years since a group of restless tech-savvy youths with smartphones and cameras got fed up with the content provided to them by the media and decided to make their own, arguably pioneering a New Media revolution in the process. 

5 years on and the newest member to join the Uturn Family is none other than Anas Iskander, a 21 year old media student and vlogger. 

يوتيرن وقعت عقد إدارة أعمال مع أنس إسكندر... مبروووووووك #يوتيرن

A photo posted by UTURN | يوتيرن (@uturnent) on Feb 29, 2016 at 7:10am PST

Anas and Kaswara with the caption: Uturn signed a production contract with Anas Iskander... Congratulations!

Anas started his own vlogging channel in 2014 and has since reached 140,435

subscribers and 4,028,306 views, produced over 20 vlogs, 10 of which are travel vlogs of his travels to countries such as Malaysia, the US and Europe. On the 3rd of March, Anas published a video thanking his viewers for reaching 100,000 subscribers and shared tips on how he makes his YouTube videos and how his viewers can make their own as well.

However, Anas' most distinctive feature is probably the boundless sense of enthusiasm and energy he emits when making a video, whether he's on the road, in an exotic new country or in his room discussing a social issue light-heartedly. His passion for the medium is not only apparent, but also reflective in the creativity and dedication he puts into his work. And now with his partnership with Uturn, one can only expect even brighter and greater things to come from him.


Just like all the other people Uturn has supported throughout these 5 years. 

As you can tell from the number of people present at Uturn's 5th anniversary celebration, the Uturn family has significantly grown over a short period of time. Not only that, but its influence on society has as well, especially on a society as young and dynamic as Saudi Arabia. For example, Uturn constantly promotes and encourages the often neglected Arts and Culture scenes such as art, filmmaking, music, etc. Simultaneously, Uturn also has a strong social voice such that it often promotes health, moral, etc. awareness campaigns throughout its productions, such as the fairly recent release of 'Touch of Mercy', a music video featuring an original song about domestic violence. 

However, when looking at things from an even wider angle, it's not just Uturn's influence increasing, it's also other networks' influence playing a part in creating a social and cultural buzz in the country, such as Telfaz 11 based in Riyadh. Nevertheless, looking at things from a wider angle still, it becomes more evident that what's really happening is change.

Technologies are changing, industries are changing and people are changing worldwide.

So the question is: is this the end?
Yes, it is. For me, at least. 


Or is it...?

The truth is, I've grown very attached to this blog and there are still so many things in this constantly changing landscape that I have not yet covered. So I hope to be able to come back to it soon and carry on my with my observations and speculations.

Because in reality this is just the beginning, it isn't the end. 

Convergence: Why Not?

Convergence, in this sense, can be defined as the ‘flow of content across multiple media platforms’ (source: Jenkins, 2006: 3; mconvergence.wordpress.com). In other words, it is a term used to describe how contemporary technologies and media industries are starting to merge in terms of the production, distribution and marketing of content (source: Jenkins, 2004). For example, viewers of a particular television programme are now able to watch that programme through an online SVoD service such as Netflix or SHAHID on their smartphones, rather than having to watch that content exclusively on an actual television. 

(Source: taliarinaldo.wordpress.com)

However, this post aims to look at a specific form of convergence: the convergence of talent and assets between online content/social media platforms and mainstream television. In this case, MBC's 2014-15 television programme 'Laish La?' (AKA Why Not?). A factual television programme that brings together four famous Saudi YouTube stars and social activists as they travel around the world in a caravan to cross out 100 experiences off of their bucket list, promoting the message that no dream is impossible to achieve.

'Laish La?' logo, posted on their Facebook Page. 

The Laish La Team from left to right: Moayed Althagafi, Feras Bugnah, Adel Radwan, and Ibrahim Saleh (source:thenational.ae).

MBC's television promo for Laish La Season 2; featuring the original song 'If you Had One Day Left to Live' performed by the Laish La team alongside renowned Arab singer Balqees Fathi and Saudi rapper Qusai (source: Laish La's Facebook Page).

قصي feat بلقيس .. أغنية جديدة لقصي وفريق ليش لا مع الفنانة بلقيس،لو باقي بعمرك يوم ماذا ستفعل به؟
Posted by ‎ليش لا‎ on Thursday, 12 March 2015

Laish La 101

1) Premise

The Laish La team assembled a list of 100 daring things to do after asking themselves the question 'If you had one day left to live, what would you do?', the list would lead the team to travel across the globe and undergo stunts such spending a night in an igloo, playing cards on top of an active volcano, performing a hit single, cooking a meal for one hundred children in need, breaking into a live television show (MBC's Arabs Got Talent) and cleaning the world's highest windows on Dubai's Burj Khalifa Tower, all of which the team has managed to achieve throughout their two seasons.

Moreover, the team sends out a call for action to its viewers every episode to answer to the question 'What would you do if you had one day left to live?'. The team then surveys the responses and nominates a viewer to help in achieving their dreams each episode, so that for every item they cross off of their list, they will help someone else cross out something off of theirs. 

One of the most notable of these would be helping to reconstruct the Rebuild Nisaa Gaza Radio Station in Palestine; a Women's Radio institution that was destroyed in an Assault on the Gaza Strip a couple of years ago. The station's founder, Islam Burbur, sent out a message to The Laish La team and they responded by setting up an online crowd funding campaign so that viewers could donate to the cause. Today, the station is back up and running.

The team's crowd funding Video.

A group of Women at the Station broadcasting a Live Women's Related Issue, on the 3rd of March 2016 (source: Rebuild Nisaa Gaza Radio's Facebook Page).

2) Audience Appeal

The show was immensely popular not only among Saudi audiences but across the Arab World and MENA region as well, especially among its targeted demographic i.e. young people.

The programme also offered many opportunities for viewers to interact with the team. Whether it was by sending in their bucket lists or following/commenting on the show's official MBC social media accounts, as well following/commenting the individual accounts of each member of the team. 

Moreover, the team often asked for their audiences' support through social media platforms e.g. twitter and instagram, in order to help cross off an item off of their own lists or from the list of their selected viewers. One notable example would be when the team launched the twitter hashtag #ملامسة_حافة_الفضاء (AKA Touching the Surface of Space). In which they asked for the audience's support in order to be able to cross that one off their list, which they did in Season 2. Another example would be when the team helped a viewer promote the Outlanders in KSA Campaign in the final episode of Season one. 

The chief appeal of the show is of course, its contributors. Such that it was the fact that each of the team had a strong social media presence and following prior to being on the show. Each member of the team had either appeared in their own highly popular YouTube show or a show produced by an online production company. This factor contributed in attracting audience's attention to the series and in creating the hype for the programme (source: mbc.net).

In this case, Ibrahim Saleh is the presenter of Sa7i Channel's Broadcast Show, Moayed and Adel have co-starred on the web drama Takki, as well as having appeared on other Uturn productions La Tsadid and Sen_Tube, whereas Feras has presented a number of shows on his own channel. 

The programme was heavily marketed through emphasising the team's popularity, such that  early teasers for the programme featured each member of the team individually, and mentioned the number of followers they had on various social media platforms.

MBC Lesh Laa teasers from Alaa Al Akawi on Vimeo.

3) The Team: 

An interview with the team on MBC's Good Morning, Arabs about the show's second season.

Laish La Season 2 Introduction and Opening

LAISH LA | Season 2 | Introduction from tarek bou chebl on Vimeo.

One of the most appealing aspects of the programme is the chemistry and charisma that the team share, as well as what each individual member brings into the team. Such that in an interview with MBC.net, Feras Bughnah, often perceived as the most serious of the group, was asked to briefly describe his teammates. Bugnah stated that: 

'Ibrahim is the most comedic person I've met in my life, Moayed is caring and a daydreamer, and Adel is a big kid.' 

The Laish La Team (source: MBC.net).

In conclusion, convergence in this sense doesn't necessarily refer to the transfer and merging of technologies nor content, but to the transfer of talent from one domain (digital) to another (mainstream television). Furthermore, Laish La is an example of how television industries are recognising the influence and impact of online/social media platforms on their audiences. Hence, having to adapt and converge in order to thrive.

This can arguably be seen as television's way of competing with online media platforms such as YouTube in terms of attracting audiences, while simultaneously, increasing the popularity of online content among viewers. Moreover, it comes to show how effective the production of online content is in cultivating local and homegrown talent and audiences. 

This trend of convergence has caught on. Television industries are recognising the impact of social media web-stars on their young audiences and have begun creating exclusive programmes featuring these stars, in order to cater to an audience that has a loyal and strong attachment to them. 

Notable examples include Omar Hussein presenting OSN's The University i.e. the first talk show dedicated to a young Saudi audience. Takki Season 2 airing exclusively on Al-Araby television network during Ramadan 2015. More recently, MBC Action's Ya 3yal (AKA Hey Guys!), a television programme bringing together many different YouTube/social media Saudi stars as shown below. 

Action يا عيال
Action يا عيال قريبا على MBC Action#ET_بالعربي
Posted by ‎ET بالعربي‎ on Wednesday, 3 February 2016

Not Amusing: Interview with Ameen Roayan

Ameen Roayan, Creator/Presenter of the Web-series Not Amusing, Episode 2.

Ameen Roayan, co-founder and CEO of Visual Effects company FramedKeys and past-time YouTuber, has been so kind as to share with us an insight into his experiences with online content creation and distribution. 

In Aug 2011, one year after the launch of hit YouTube programmes such Uturn's 3al6ayer and Eysh Elly and Telfaz 11's La Yekthar, Ameen Roayan was one of the many young men and women that decided to take part in the New Media Wave sweeping the country and make his voice heard. 

He created and presented the niche web-series Not Amusing. Although the series was short-lived and ran for only 4 episodes, it reached 6,681 subscribers and 209,419 views. The series tackled issues regarding the realities and often negative impacts saturated media environments and television can have on people. Arguably, what made the programme stand out was its serious, dark and rather thought-provoking tone. Especially when compared with numerous comedy and satire genres being produced at the time.

Pilot episode of Not Amusing (NB subtitles available in video settings).

The Interview

1)  It's no secret that most of the content broadcast on Saudi television is foreign content. Did you ever feel satisfied with that?

The Saudi broadcast has been trying to catch up to a share of the viewership in the tug of war between the internet based media and broadcast. However, in my personal case I was not keen on following the broadcast programs and always felt that they require too much commitment, therefore the quality or satisfaction level was not a matter of concern.

2) In general, what sort of films/programmes appeal to you?

The broad collection of themes and concepts present in this age of interest enables the person to explore far beyond his personal appeals; I for one never thought I would watch videos about cooking or follow something that cooking-centric such as Buzzfeed foods for example, however the content delivery and length of time of each segment enable me to enjoy it, with my usual things from channels like Vsauce, SmarterEveryDay, or even TED talks of relevance.

3) Before you launched your YouTube channel, were you a frequent YouTube viewer?

I believe so, since I was not a television person.

4)  It was the viral success of early Uturn shows like 3al6ayer and Eysh Elly that largely ignited a New Media Wave / Audiovisual online content boom in the country. Would you agree with this statement? 

I would disagree, and cite the accessibility of technology as the main champion of the movement, and all the listed shows are only a byproduct of the enabled getting access to enabling technologies.

5) Given that your first Not Amusing video was published in 2011, a year after 3al6ayer was first published,  would you say you were inspired by the show and the success it had? What kind of impact did it and other YouTube shows that started to appear have on you and the kind of programme you wanted to make?

I had a general disdain for the situation due to how much comedy was used to portray a very dark image, I felt the comedy overshadowed the reality and became a way to numb people instead of enabling them to take action. Now I am not saying that Not Amusing was going to do that, I was merely trying to bring key sources of information in hope that people will follow the breadcrumbs left in the show to gain new knowledge.

6) In terms of what I can discern from Not Amusing, you seem to have had a solid idea for the programme as well as the skills and talent to back it up. What made you choose YouTube as your main platform, rather than pitching it to a media/television company?

The whole show takes a stance against the current standards of broadcast, the show is done on a 0 budget and was shot mostly in bed rooms and living rooms. YouTube is perfect because the content I place there does not get through any censorship other than my own, and even if it went through a censor, odds are if the content was good enough, it will survive forever.

7) What programmes would you say acted as inspiration for Not Amusing? How did you adapt that into an online video format?

Not Amusing is a mash of several shows, or actually segments of some other shows  (literally), but I would say a show like How TV Ruined Your Life is one good example of inspiration. Also the content is mainly derived from the writings and works of Neil Postman and Marshal McLuhan, also the first episode borrows heavily from the Story of Stuff.

8) Briefly, how did the production of the series go? What kind of equipment/sets did you use to film and edit your videos? Were you able to produce and publish the series on your own?

Yeah, the team was three guys, one 5D and a computer for editing no more no less. We used what we had and we got together when an episode was written as a mind map on a big piece of paper and discussed what to keep and what to remove.

9) How important was Social Media e.g. Twitter, Facebook, Instagram, etc. in terms of the circulation of the programme?

The first day we posted the first episode the people who shared it were Malik Nejer and Fahad Albutairi, then Yasser Bakr*, then almost every other big name in the twitter sphere. So, yes, it went viral due to the contributions of the twitter key tweeters.

10) The subject matter of Not Amusing is rather thought provoking and dark, how did audiences react to it when it was first published or did it seem to appeal to a more niche online audience?

Judging by the viewership, it did become some sort of cult show, and the niche audience is rather small compared to audience who attend Eysh Elly for example.

11) Looking through the number of views and subscribers and even briefing through the comments sections of your videos, you seemed to have good audience reception and success. Why did you stop?

A change of heart would be the mild way to put it. I believe that if the message of this show was to be truly effective, the show would actually kill it. Hence I am working on turning it into a book, from there, things can progress.

12) Do you think that online video content is a durable medium in the long-term?

Not at all, right now I focus on the transformative power of books as a catalyst for change way more than video content, despite the developments in video. A book is still able to confer serious trajectory adjustments in ones thought process and way of thinking.

13) Finally, 4 years after the final episode of Not Amusing was published, do you believe that Saudi YouTube has changed in any way? Why do you think that is?

The “shows” boom is over, that is a fact and its probably due to saturation and a drop in content quality. The new buzzword is films, and it seems like its going to be the next door that attracts people and shakes up the old system.

---------

Many super extra thanks to Ameen Roayan for his contribution. 

--------------------------

* Malik Nejer Founder of Myrkott Animation Studios, and creator of the Masameer Animation YouTube Channel - Number of Twitter followers - 678K.

* Fahad Al-Butairi, Stand Up Comedian and presenter/writer of Telfaz 11's hit comedy YouTube Channel, La Yekthar - Number of Twitter followers - 2.19m.

*Yaser Bakr, Blogger and Stand Up Comedian - Number of Twitter followers - 307K. 

What makes a YouTube Star?

This February, British vlogger Zoe Sugg AKA Zoella has surpassed 10 million subscribers on her YouTube Channel, enlisting her to a Diamond Play YouTube Creator Award, as well as ranking her channel the fourth most subscribed to channel in the UK (source: theguardian.com).

Zoella's Channel Trailer

Zoella's channel is mainly comprised of Beauty and Fashion tutorials, however, she is also known for creating more personal videos, notably her vlogs which talk about her struggle with long-term panic disorder.

                                  Zoella's 'Dealing with Panic Attacks & Anxiety Vlog'; the full video can be seen here. 

In another recent article by the Guardian titled 'Why are YouTube Stars so Popular?', Zoella's fame was largely attributed to how her fans perceived her, as the relatable 'girl next door'. The article discussed how YouTube stars such as Zoella tended to appeal to younger audiences more because they considered them to be more authentic and influential than most celebrities.

It also mentioned how most YouTube stars' vlogging methods e.g. shooting in their bedrooms while keeping a close proximity to the camera, their individual editing styles, casually addressing their audiences, their open sense of humour and the fact that they talked about their everyday lives and experiences helped create an intimate connection between them and their audiences (source: theguardian.com). 

Moreover, Forbes' 'The World's Highest-Paid YouTube Stars 2015' article lists 11 of the highest earning YouTubers. The first in the list is Swedish video-game commentator and vlogger Pewdiepie at $12 million, 42,656,984 subscribers and 11,409,597,111 views. Nonetheless the list also brings together an eclectic group of YouTubers such as Smosh, a comedy sketch channel, and Lindsey Stirling, a hip-hop violinist. 

In the article, it was stated that ‘One of the only commonalities of the group is their youth...Most are under 30 and thus only slightly older than their targeted audience members'. Keen readers of this blog will have picked up on that fact, as it was stated in one of my earlier posts. That is, the average age of a YouTube star is 27 years old, hence increasing their appeal and relatability to teenagers and younger people i.e. the demographic most likely to regularly watch short form videos online (source: forbes.com). 

In case you were wondering, here's a video explaining how YouTubers make money.

Furthermore, a chief difference between the YouTube sphere, mainstream television and the Hollywood star system, is that it is capable of providing absolute freedom for people to express themselves and their talents as they are to a wide audience. An opportunity that might not come so easily on television as they would not 'fit' the mould. One of the biggest examples of this would be Lindsey Stirling being eventually being cut from America's Got Talent because she was 'not good enough' on her own. That she should work as part of a group, rather than being a solo act.

Lindsey Stirling being cut from America's Got Talent in 2010. 

However, Stirling's talents and uniqueness only increased her popularity online and in 2014, she managed to beat the odds and go on a successful solo world tour of her debut album 'Shatter Me'.

Stirling's Shatter Me Tour promo published on her channel. 

In conclusion, when asked about her fans Stirling stated that ‘It’s a very loyal fanbase (that) wants you to succeed because they found you… It wasn’t some big radio station or record label that shoved art down someone’s throat and said this is what’s cool’. 

On a different note!

Coming across this article made me think, What Makes a YouTube star? And does that apply to both Western and Saudi stars as well?

Clearly, cultural, religious and social discrepancies play a part, however one thing that Saudi YouTube stars share with Western ones above all else is their youthfulness. Such that both parties create content that appeals to like-minded young audiences. As mentioned in the Forbes' article, 'One of the only commonalities of the group is their youth' (source: forbes.com). 

Moreover, the second factor that increases a YouTube's star reputation is their sense of relatability in relation to their targeted audience. In an interview with Reuters, Maram Gaily, a young and avid viewer of Uturn's productions was quoted saying 'these kinds of shows are useful and entertaining, and because they are made by young people, they are close to the heart'. 

Additionally, as Kaswara Al-Khatib mentioned in our exclusive interview in a past post, the content that Uturn produces, as well as what similar companies produce e.g. Telfaz 11, are 'from the youth, to the youth'. In other words, the more the sense of being the 'girl/boy next door' is felt, the more likely it is that feelings of empathy and kinship will emerge in viewers, therefore boosting the star's appeal and popularity* (source: reuters.com). 

However, the more interesting points of contrast I noticed were these...

Abdulmajeed Al-Kanany, presenter of Luqaimat Show on Sceen TV's channel,
 Episode 37.

Badr Saleh in Eysh Elly's Season 3, Episode 10.

Hatoon Kadi in Noon Al-Niswa's Season 1, Episode 10.

Fahad Albutairi in Telfaz 11's La Yekthar Season 3, Episode 9

Darin Al-Bayed (Left) and Moutasim Tarabzouni in
AnaWheya Season 2, Episode 16

When compared to these...

Zoella in her 'February Favourites 2016' video.

Pewdiepie in his 'YouTube hasn't got to my Head' video.

British YouTuber Phil Lester in his 'Reading My Old Diary!' video.

British YouTuber Dan Howell in his 'Dan Reacts to His Childhood Videos' video.

--

Basically, what I've discerned can be summed up in the following points:

• Western YouTubers tend to operate on a 'one-person show' basis. Whereas Saudi YouTube stars often appear as part of a larger network e.g. Uturn Entertainment or Telfaz 11, with the exception of some individual vloggers such as Fahad Sal, for instance.

• Most Western YouTubers vlog, whereas Saudi YouTubers present (with occasional exceptions for both parties). In this context, vlogging can be defined as sharing one's personal or everyday thoughts and experiences through a video medium. Whereas presenting is used in the more general context of being a presenter/actor of a scripted show with occasional improvisations, cracking of jokes, etc.

• In relation to the previous point, most Saudi YouTube stars have been involved in presenting socially-driven and relevant programmes, whereas Western stars tend to focus on their personal lives and interests.

• In the first Guardian article, it was mentioned that YouTube stars often convey a sense of 'intimacy' between themselves and the viewer, often speaking informally and filming in their bedrooms (source: theguardian.com). In terms of most Saudi YouTubers, a sense of intimacy is hardly maintained as most programmes are filmed in decorated and themed studios depending on the programme. Although they might speak informally throughout the programme, the ways in which they initially address audiences at the start of their videos may contain a hint of formality. 

• Comedy often plays a large role in Saudi YouTube programmes and its presenters. Whether a programme is predicated on being a satirical/comedy show or not, it is an element often incorporated in most programmes and videos, whether its coming from the actual presenter or through the editing and is a feature shared with Western YouTubers as well. 

In fact, the emergence of comedic Saudi YouTube stars such as Fahad Albutairi led to the increased popularity of Stand Up comedy acts in Saudi and the eventual establishment of Jeddah's Al-Comedy Club. A club in which professional and amateur Saudi comedians can go to and perform their acts in front of live audiences. 

Fahad AlButairi's TED talk 'Haha, Wait what?'
on being one of the first professional 
Saudi Stand Up Comedians.

In the end, it is without a doubt that certain cultural and social factors can affect the type and format of videos produced and ultimately the factors that define a YouTube star. However, common factors such as youthfulness, relatability and comedy seem to register with both Saudi and Western stars and audiences. Nevertheless, could a rise in YouTube popularity and short form video among younger demographics mean that viewing habits and audience tastes are changing worldwide? 

--------------

*For what it's worth, as an avid watcher of YouTube programmes myself, watching a programme in which the presenter or actor is speaking in the same language/accent I speak, going to the same places I go, facing problems I might face in everyday life, etc. makes me not only relate to them on a personal level, but also makes me watch and like their videos as well as subscribe to their channels, hence increasing their fame and popularity and so on.
Therefore, I can somewhat confirm that relatability is a major role for a YouTube star's popularity :D!