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Social Blade believes that the keys to growing a successful online presence are data, support, and community. SOCIAL BLADE Social Blade was founded in 2008. We began tracking YouTube statistics in 2010, Social Blade is an online analytics 2008 Twitch statistics in 2013, and company that provides and interprets Instagram statistics in 2014 data about YouTube, Twitch, and Instagram. Social Blade tracks over 4M 4,000,000 YouTube Socialblade provides the support and channels and counting. community to turn that data into usable information to successfully grow an Social Blade tracks over online presence. 1M 1,000,000 Twitch Channels. SUPPORT Social Blade just began Social Blade provides support free of charge. tracking Instagram Statistics We accept and answer support tickets about 100K in 2014, and already tracks more than just Social Blade; if you have a 100,000 channels! YouTube question, we’re happy to help! We have a team of experts ready to help you Socialblade.com receives with any questions or issues that may rise! over 1,300,000 unique 1.3M visitors each month. The value of having numbers - data - is that they aren’t subject to someone else’s interpretation. [ They are just numbers. You can decide what they mean for you. - Emily Oster ] DATA COMMUNITY Social Blade tracks statistics for Social Blade believes that the best way YouTube, Twitch, and Instagram that to learn and grow is through can be used to help grow your channel. collaborations with other YouTubers. The data can tell you how your actions We provide opportunities for aect your views and subscribers. YouTubers to meet, share ideas, and form lasting friendships through the Statistics can also be used to see how forum, chat, and real life gatherings. other people grow their channels. With Social Blade, you can compare the statistics of your favorite YouTube artists. SOCIAL BLADE www.socialblade.com.

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Audio-Visual Genres and Polymediation in Successful Spanish Youtubers †,‡
future internet Article Audio-Visual Genres and Polymediation in Successful Spanish YouTubers †,‡ Lorenzo J. Torres Hortelano Department of Sciences of Communication, Universidad Rey Juan Carlos, 28943 Fuenlabrada, Madrid, Spain; [email protected]; Tel.: +34-914888445 † This paper is dedicated to our colleague in INFOCENT, Javier López Villanueva, who died on 31 December 2018 during the finalization of this article, RIP. ‡ A short version of this article was presented as “Populism, Media, Politics, and Immigration in a Globalized World”, in Proceedings of the 13th Global Communication Association Conference Rey Juan Carlos University, Madrid, Spain, 17–19 May 2018. Received: 8 January 2019; Accepted: 2 February 2019; Published: 11 February 2019 Abstract: This paper is part of broader research entitled “Analysis of the YouTuber Phenomenon in Spain: An Exploration to Identify the Vectors of Change in the Audio-Visual Market”. My main objective was to determine the predominant audio-visual genres among the 10 most influential Spanish YouTubers in 2018. Using a quantitative extrapolation method, I extracted these data from SocialBlade, an independent website, whose main objective is to track YouTube statistics. Other secondary objectives in this research were to analyze: (1) Gender visualization, (2) the originality of these YouTube audio-visual genres with respect to others, and (3) to answer the question as to whether YouTube channels form a new audio-visual genre. I quantitatively analyzed these data to determine how these genres are influenced by the presence of polymediation as an integrated communicative environment working in relational terms with other media. My conclusion is that we can talk about a new audio-visual genre.
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Pewdiepie, Popularity, and Profitability
Pepperdine Journal of Communication Research Volume 8 Article 4 2020 The 3 P's: Pewdiepie, Popularity, and Profitability Lea Medina Pepperdine University, [email protected] Eric Reed Pepperdine University, [email protected] Cameron Davis Pepperdine University, [email protected] Follow this and additional works at: https://digitalcommons.pepperdine.edu/pjcr Part of the Communication Commons Recommended Citation Medina, Lea; Reed, Eric; and Davis, Cameron (2020) "The 3 P's: Pewdiepie, Popularity, and Profitability," Pepperdine Journal of Communication Research: Vol. 8 , Article 4. Available at: https://digitalcommons.pepperdine.edu/pjcr/vol8/iss1/4 This Article is brought to you for free and open access by the Communication at Pepperdine Digital Commons. It has been accepted for inclusion in Pepperdine Journal of Communication Research by an authorized editor of Pepperdine Digital Commons. For more information, please contact [email protected], [email protected], [email protected]. 21 The 3 P’s: Pewdiepie, Popularity, & Popularity Lea Medina Written for COM 300: Media Research (Dr. Klive Oh) Introduction Channel is an online prole created on the Felix Arvid Ul Kjellberg—more website YouTube where users can upload their aectionately referred to as Pewdiepie—is original video content to the site. e factors statistically the most successful YouTuber, o his channel that will be explored are his with a net worth o over $15 million and over relationships with the viewers, his personality, 100 million subscribers. With a channel that relationship with his wife, and behavioral has uploaded over 4,000 videos, it becomes patterns. natural to uestion how one person can gain Horton and Wohl’s Parasocial such popularity and prot just by sitting in Interaction eory states that interacting front o a camera.
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Youtube, Multichannel Networks and the Accelerated Evolution of the New Screen Ecology
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Cunningham, Stuart, Craig, David, & Silver, Jon (2016) YouTube, multichannel networks and the accelerated evolution of the new screen ecology. Convergence, 22(4), pp. 376-391. This file was downloaded from: https://eprints.qut.edu.au/98716/ c Consult author(s) regarding copyright matters This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.1177/1354856516641620 YouTube, Multichannel Networks and the accelerated evolution of the new screen ecology The concept of ‘connected viewing’ encapsulates deep changes in consumer habit and expectation relating ‘to a larger trend across the media industries to integrate digital technology and socially networked communication with traditional screen media practices’ (Holt & Sanson, 2013: 1).
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How's It Going Bros: Pewdiepie's Memeing in Tertiary Orality
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Social Media in Asia Co-editors: Cui Litang Xiamen University, Tan Kha Kee College Michael H. Prosser University of Virginia and Shanghai International Studies University Dignity Press World Dignity University Press Copyright © 2014 Michael H. Prosser, except for the parts indicated otherwise. Tis work is licensed under the Creative Commons Attribution-Share-Alike 3.0 Unported License. Please note: Tis license allows free use of the material with the restrictions that authors and editors have to be mentioned as the originators and that works making use of it have to stay open under the same license. For details see: http://creativecommons .org/licenses/by-sa/3.0/. Published by Dignity Press 16 Northview Court Lake Oswego, OR 97035, USA www.dignitypress.org Book design by Uli Spalthof Front cover map from http://commons.wikimedia.org/wiki/File:Map_of_Asia.svg by Cacahuate. Printed on paper from environmentally managed forestry: http://www.lightningsource.com/chainofcustody Book website: www.dignitypress.org/social-media-in-asia ISBN 978-1-937570-36-1 Also available as EPUB: ISBN 978-1-937570-43-9 and Kindle eBook: ISBN 978-1-937570-44-6 589 XVIII. Australian Social Media Trends John Harrison School of Journalism and Communication, The University of Queensland, Brisbane, Australia [email protected] Sean Rintel School of Journalism and Communication, The University of Queensland, Brisbane, Australia [email protected] Elizabeth Mitchell School of Journalism and Communication, The University of Queensland, Brisbane, Australia Corresponding author: [email protected] Abstract Te vast distances Australians must negotiate to connect their small, highly urbanized population both nationally and internationally have long created the incentive for invention, innovation and the early adoption of communication technologies.
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Subscription-Based Crowdfunding: an Emerging Alternative Crowdfunding Model for Content Creators
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DSpace at Waseda University <MBA Degree Thesis> AY 2018 SUBSCRIPTION-BASED CROWDFUNDING: AN EMERGING ALTERNATIVE CROWDFUNDING MODEL FOR CONTENT CREATORS 57160512-0 NG RUEY AUN MARKETING STRATEGY C.E. PROF. NAGAI, TAKESHI D.E. PROF. MANO, YOSHIKI D.E. PROF. KIM, PILJOONG Summary This master thesis is a study of the burgeoning subscription-based crowdfunding model. Currently, this model of crowdfunding had been relegated as a subcategory of reward-based crowdfunding. However, one of the main purposes of this paper is to propose that subscription-based crowdfunding is functionally different from reward-based crowdfunding and thus deserving its own categorization alongside other community crowdfunding (reward-based crowdfunding and donation crowdfunding). The other purpose of this paper is to study the circumstances which fostered the growth of subscription-based crowdfunding. Unlike reward-based crowdfunding where backers contribute to fundraisers in a singular transaction, subscription-based crowdfunding allows backers (Patrons) to contribute to fundraisers (Creator) in an ongoing basis. This slight change in mechanism fundamentally changed the function of subscription-based crowdfunding and sets this model apart from the others. This form of crowdfunding is also based on the traditional pay membership or subscription services such as newspapers and magazines. However, by combining traditional subscription payment with the crowdfunding model, it became something more than a simple subscription service. The current online media was powered financially by advertising. Due to the abundance of information on the internet, advertisers were able to attain higher negotiation power.
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The Relationship of Comment Sentiment and Subscriber Growth Rate
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Youtube Channel “Kokbisa” As Platform for Science and Environmental Communication
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Youtube Influencers: Are There Too Many Commentary and Reaction Stars in the Spotlight?
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How Do Social Media Entrepreneurs Monetize Youtube? a Multiple Case-Study on Eight Youtube Channels, Analyzing the Various Monetization Strategies Available
How do Social Media Entrepreneurs Monetize YouTube? A multiple case-study on eight YouTube channels, analyzing the various monetization strategies available. Bachelor Thesis within: Business Administration Number of Credits: 15 credits Program of Study: International Management Author: Artemis Katsimente & Ida-Maja Eldås Group Number: 52 Tutor: Thomas Cyron Examiner: Anders Melander Jönköping: 18th May 2020 2 Acknowledgments Hello everyone, welcome back to our YouTube channel We would like to give some special accreditation to individuals who supported and assisted us while conducting our thesis. Most importantly, we would like to thank each other for all the love and support given to each other during this period. We hope to continue our research on social media in the future. We would also give our gratitude to our fantastic tutor Thomas Cyron for showing immense interest in our research question and who triggered us to be the best version of ourselves. We, more than anything, want to thank our fellow graduating peers for giving excellent feedback and elevating our thesis to the next level. Moreover, the support received in our seminars by our opposing group is worth acknowledging as it made us confident in our results. Please smash the like button and subscribe to our channel for more content. 2 3 Abstract Background: Regarding previous literature, there has been much focus on Social Media in recent years. Researchers have elaborated on how social media platforms are tools for big companies or SMEs in terms of marketing and networking. Moreover, research shows how individuals can use social media as an entrepreneurial platform. The monetary success of individuals on online platforms has created a new generation of entrepreneurs.
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