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WHY AUDIO NEVER GOES VIRAL Is This Thing On? (One of the Best Pieces Ever)

Stan Alcorn

· Jan 15, 2014

With a community of creators uncomfortable with the value of virality, an audience content to watch grainy dashcam videos, and platforms that discourage sharing, is a hit-machine for audio possible? And is it something anyone even wants?

Skip Dolphin Hursh

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Last October, several dozen audiophiles gathered in a basement auditorium for an all-day conference about “the future of radio in a digital age.” Reddit founder Alexis Ohanian finished a talk he’s been giving to college campuses about the Internet and the transformative power it can unleash when it mobilizes a mass of people around an idea, a video, a website, a tweet. When he took questions, I asked: Why does the Internet so rarely mobilize around audio? What would it take to put audio on the Reddit front page?

Ohanian leaned back, contemplating the question, apparently for the first time. “That’s interesting,” he said. “I’m thinking of a lot of the viral content.” You could practically see the memes and GIFs pass across his brain. He started to point out that most viral videos are under three minutes, while the best audio storytelling was usually longer, but interrupted himself with a story about Upworthy.

When the founders pitched him on their plan — to make “socially good content” “go viral” — Ohanian invested “out of passion,” not because he thought it would work. Now Upworthy is one of the fastest growing media properties on the Internet. Sure, sound may not go viral today, but Ohanian is optimistic. “Probably someone here in the audience is going to show us all wrong,” he said, “and a year from now we’re going to look at the Upworthy for audio."

“So go make it.”

Easier said than done.

Cat Video Vs. The Cat’s Meow

Bianca Giaever has always been obsessed with radio. As a child, while she biked her newspaper delivery route, she listened to an iPod loaded exclusively with episodes of WBEZ’s “This American Life.” At Middlebury College, she stalked her classmates, dragging them to her dorm room to record interviews she edited into stories for the college station and smaller audiences online. “I was fully planning on working in radio,” she says. “My whole life.” That is until, the day after graduation, she became a viral video star.

When she painstakingly crafted moving audio narratives, her parents and brother listened. When she added video to her final college project, “The Scared is Scared” — a 6-year-old’s dream movie brought to life — “It just. Blew. Up.”

“At first I was like, ‘Wow. A lot of people are sharing this on Facebook,’” she recalls thinking, “‘I have such nice friends!’” Then it was friends of friends. Then strangers. By the time websites like Mashable and CBS News picked it up, she could only picture the audience as a number. Waiting on the tarmac for her post-grad vacation to begin, she watched on her phone as that number spiked into the thousands, then hundreds of thousands, seemingly crashing the site that hosted it. “These French people were yelling — because I had my phone on as we were taking off — that I was going to kill them,” she recalls. “They were like, ‘Is whatever you’re doing worth our possible death?’ And I was like, ‘Maybe? This is the biggest thing that’s happened in my life!’”

Of the 100 most-shared news articles on Facebook, three were from NPR, but none included audio. Two of these were reblogs of YouTube videos.

I’m a public radio reporter and this doesn’t happen in my milieu. There is no Google Sound, no BuzzFeed for audio, no obvious equivalent of Gangnam Style, Grumpy Cat or Doge. If you define “viral” as popularity achieved through social sharing, and audio as sound other than music, even radio stations’ most viral content isn’t audio — it’s video. A 17-minute video interview with Miley Cyrus at Hot 97 has nearly 2 million views. An off-the-rails BBC Radio 1 video interview with Mila Kunis: more than 12 million. In June 2013, the list of the 100 most-shared news articles on Facebook included three from NPR, but none included audio. Two of these stories were reblogs of YouTube videos (this one and this one), found on Gawker and Reddit.

“Audio never goes viral,” writes radio and podcast producer Nate DiMeo. “If you posted the most incredible story — literally, the most incredible story that has ever been told since people have had the ability to tell stories, it will never, ever get as many hits as a video of a cat with a moustache.”

It’s hardly a fair fight, audio vs. cat video, but it’s the one that’s fought on Facebook every day. DiMeo’s glum conclusion is an exaggeration of what Giaever reads as the moral of her own story: “People will watch a bad video more than [they will listen to] good audio,” she says.

Those in the Internet audio business tend to give two explanations for this disparity. “The greatest reason is structural,” says Jesse Thorn, who hosts a public radio show called “Bullseye” and runs a podcast network called Maximum Fun. “Audio usage takes place while you’re doing something else.” You can listen while you drive or do the dishes, an insuperable competitive advantage over text or video, which transforms into a disadvantage when it comes to sharing the listening experience with anyone out of earshot. “When you’re driving a car, you’re not going to share anything,” says Thorn.

The second explanation is that you can’t skim sound. An instant of video is a still, a window into the action that you can drag through time at will. An instant of audio, on the other hand, is nothing. “If I send someone an article, if they see the headline and read a few things, they know what I want them to know,” a sound artist and radio producer told me. “If I send someone audio, they have to, like… listen to it.” It’s a lot to ask of an Internet audience.

For some radio makers, social media incompatibility is a sign of countercultural vitality. Thorn has called his own work “anti-viral,” and believes that entertaining his niche audience is “still so much better than making things that convince aunts to forward them to each other.”

“That’s A-U-N-T-S,” he clarifies.

But when I suggest the situation doesn’t seem to concern him, he interrupts, “To say that it doesn’t concern me — it concerns me profoundly. I think about it all the time.” In his view, social media warps our consumption patterns, and not for the better. “It’s a serious problem in my life. And not just in my media-making life, in my day-to-day life.”

After Giaever’s video went viral, she turned down an internship at “This American Life” — “my dream since I was nine” — to become a “filmmaker in residence” for Adobe. She gets paid to make her own movies, which she still approaches as radio stories with added visuals. It’s the proven way to get people on the Internet to listen. “The entire concept of what I’m doing seems problematic to me,” she says. “What’s so beautiful about radio is you can’t compete with what people are imagining in their heads, right? And yet I still continue to do it.”

Because audio doesn’t go viral.

Except that sometimes, it does.

Kids Say The Darndest Things

Most viral audio wasn’t intended for the Internet. Recordings made for some other purpose are excerpted and uploaded: voicemails, speeches, and calls to 911 and customer service hotlines.

One category of viral audio is the document, bits of audio that serve as evidence in a news story. It’s easy to imagine text transcripts being distributed in audio’s absence: Bradley Manning’s testimony, the 911 calls of the Trayvon Martin case, Obama’s oft-quoted “clinging to guns and religion.” The primary advantage of audio over text is that it lets the listener confirm a quote with her own ears and determine if meaning is altered by nuances of emphasis or emotion.

Another category of viral audio is the rant or comic diatribe, where emphasis and emotion are the entire point. For instance, an irate San Francisco Chronicle reader chewing out the editor for referring to a “pilotless drone,” or a voicemail becomes an increasingly laugh-filled narration of the aftermath of a car crash. A transcript of these would be like lyrics without a melody.

Somewhere in between these two is a subcategory that could be called “celebrities gone wild”: Alec Baldwin cursing out his 11-year-old daughter, Christian Bale cursing out his director of photography, Mel Gibson cursing out his ex-girlfriend, etc.

These brief, emotional, sometimes-newsworthy clips of people speaking have cousins in viral video. In fact, the two are sometimes difficult to distinguish. Mitt Romney’s infamous “47% comment” was captured and distributed as a video featuring blurry donors’ backs. A recent viral “video” titled, “Potty Talk! [Original] 3 year old contemplates the effects of his diet on the toilet” is merely a shaky shot of a bathroom door. When documenting a primarily auditory event from the vantage point of a single recording device, adding a video camera to the microphone gives slightly more information, and the advantage of keeping the eyes occupied.

But these amateur, one-shot videos are a small and shrinking section of the viral video pool. “We’re seeing a lot more professional work in [the viral video] space, and I don’t just mean advertisers,” says YouTube trends manager Kevin Allocca. The “top trending videos” of 2013 were all intentionally shot and edited for an Internet audience: music videos (“What Does The Fox Say?”) and ads (Volvo’s “epic split” with Jean-Claude Van Damme) but also low-budget productions like the Norwegian army’s “Harlem Shake.” They all have had over 90 million views.

Analogous audio — deliberately constructed and virally distributed — is a rarer and more recent phenomenon.

Ask a public radio journalist for an example of viral audio, and one piece comes up again and again: “Two Little Girls Explain The Worst Haircut Ever.” It’s two minutes and fifty seven seconds of cute, as five-year-old Sadie and three-year-old Eva tell the story of an ill-advised haircut to their patient interviewer and father, WNPR reporter Jeff Cohen. For public radio, Cohen has covered gangs, unemployment, and the aftermath of the mass shooting at Sandy Hook Elementary school. He won a magazine writing award for a story in the Hartford Courant about Connecticut’s first Iraq war widow.

“I’ve done a lot of work as a reporter that I’m pretty proud of,” he says. “I will never be recognized for anything for the rest of my life, except for this.”

It, too, resembles a viral video: it’s short, self-contained and driven by cute children. But not only does it lack any images of said children, it isn’t a straightforward record of what unfolded in front of the microphone. Cohen recorded two interviews, one with each daughter, and then carefully edited them into a fast-paced, seamless whole. Unlike Alec Baldwin’s voicemail, “Two Little Girls” is a showcase of audio’s power to create what appears to be an unedited version of reality, but is in fact a tightly constructed story, with a beginning, middle and end.

To explain why millions of people have listened to “Two Little Girls” — and why this is still so exceptional — you have to look at its convoluted path to fame.

What We Mean When We Talk About ‘Viral’

Taken literally, “viral” brings to mind an infectious agent bumping around inside its host, spreading accidentally by breath or touch. When “viral marketing” emerged in the 1990s, the medical referent was apt. The disease vector typically took the form of email and “virals” — as such ads were then called — that lived in the inbox. Invisible to the wider world, they spread from individual to individual, as when Hotmail stuck a sign-up ad beneath its users’ signatures. Or when the movie “American Psycho” sent compulsively forwardable emails from its psychotic main character, Patrick Bateman.

Today, those seeking to “go viral” have the same essential goal — to increase their audience by reaching the audience’s audience (and their audience, ad infinitum) — but the web has changed beyond the dynamics of disease transmission. Instead of invisible, one-to-one emails, today’s Internet infections spread by a cascade of publicly visible, one-to-many “likes,” “shares,” “tweets,” and “reblogs,” accelerated and amplified by an expanding web publishing industry. “Sharing” implies a deliberate effort, but social media sharing skews toward a mix of self-representation and what Tumblr creative technologist Max Sebela refers to as “speaking in content”: You might share Rebecca Black’s “Friday,” not because you want people to watch the video, but to make a joke about the fact that today is Friday.

“How does it happen,” YouTube’s Kevin Allocca asked in a 2011 speech called “Why Videos Go Viral.” “Three things: tastemakers, communities of participation, and unexpectedness.”

Tastemakers are like virus broadcasters, picking up outstanding, or “unexpected,” Internet phenomena that might otherwise never spread beyond their initial communities, and spraying their spores onto larger followings.

For Cohen’s “Two Little Girls,” the key tastemaker, without whom it may well have languished in Internet obscurity, was Gawker’s Neetzan Zimmerman. (Note: I spoke with Zimmerman before he announced his plans to leave Gawker to become editor-in-chief of a social network startup called Whisper.)

Zimmerman is the closest thing to a one-man embodiment of what he calls “the viral industry.” When Gawker hired him in early 2012, his boss A.J. Daulerio approvingly called him, “a total freak” for his ability to methodically scour the corners of the Internet for the video, memes, and Internet ephemera that would grow to popularity after being seeded with Gawker’s audience. “Before I used to do basically 20 hours a day,” Zimmerman says. “Now there’s a night shift, so I don’t have to worry as much.” In the last three months of 2013, his posts were responsible for more than half of Gawker’s pageviews and two thirds of the site’s unique visitors — nearly 40 million in total — according to Gawker’s public stats. For comparison, that’s more than 1/3 of the traffic of the entire the New York Times website.

Zimmerman’s work is a more extreme version of the new, upside-down dynamic of web publishing. Instead of the publisher’s megaphone guaranteeing its articles an audience, the publisher only has an audience insofar as the articles “go viral.” Tens of thousands of readers see most of the dozen items Zimmerman posts each day, but millions see his blockbusters.

For those hits, the content and the clickbait headline are as important as the timing. He describes “going viral” like surfing: boarding a wave at the earliest possible point. “You don’t want to wait too long because you’ll miss that initial cresting,” he says. “It’s a race against everyone else.”

Zimmerman chooses what to cover by scanning for signs of that wave rather than looking deeply at the constituent molecules of content. “The way the system works is I keep a mental note of instances of occurrence on a certain tier of sites,” he says. This lets him identify “viral momentum,” even when his personal judgment might suggest otherwise. “The purpose of the system is to override my biases and to override whatever personal feelings I have.”

Sometimes this lets Zimmerman not only beat the competition, but also popularize something that might otherwise never bubble into the mainstream from a less-trafficked corner of the Internet. But the system — Zimmerman’s and that of the “viral industry” more generally — has an obvious bias of its own toward content that is already being shared on the Internet.

For Bianca Giaever’s “Scared” video, first college and radio friends shared it on Facebook, then Vimeo made it a “staff pick,” then major media websites like CBS News, BuzzFeed, Jezebel and Mashable blogged about it. Within three days, hundreds of thousands were watching.

For Cohen, it took four months, and a lot of luck.

‘Invisible As the Radio Waves Themselves’

Jeff Cohen had interviewed his daughters many times, in the same way other fathers shoot home videos. “I’m sappy that way,” he says. But he thought enough of the haircut piece to play it for colleagues at the radio station. “It was about five minutes long, and my boss and friends said, ‘Cut it down to three minutes and put it on PRX.’”

PRX is the Public Radio Exchange, and as the name suggests, its website is a marketplace where station managers shop for stories. After Cohen uploaded his new, tighter version of “Two Little Girls” in February of 2012, it was discovered and licensed by a handful of local stations: KOSU in central Oklahoma, KUT in west Texas, KSJD in southwest Colorado.

But to the Internet, all this was invisible as the radio waves themselves. “PRX is designed as a business-to-business marketplace,” says PRX CEO Jake Shapiro. “We’re not designed for listeners… yet.”

The circuitous route that “Two Little Girls” took to Gawker didn’t start with PRX, but at a monthly event called “Ear Cave” hosted by one of Cohen’s colleagues at a coffee shop in Hartford, Connecticut. “I call it BYOB, BYOE,” says the event’s creator Catie Talarski. “Bring Your Own Beer, Bring Your Own Ear.” She dims the lights, sets up chairs, and projects a photograph of an old radio, so the audience has something to look at while a chosen curator presses play on a laptop. That April, “Two Little Girls” was the grand finale.

“It was just a huge hit,” recalls Adam Prizio, an insurance auditor who was in the audience that night. Two months later, Prizio, with the voices of Eva and Sadie bouncing around his head, decided to google it. Finding the audio on PRX, he posted a link to community blog MetaFilter, with no description other than a mysterious quote (“It happens three times in every life. Or twice. Or once.”) and the categorization “SLAudio,” a riff on “SLYT” (Single Link YouTube).

Overnight, the comments swelled. “Amazing.” “Adorable.” “Better than the Car Guys.” “OH MY GOD THIS IS FUCKING BALLER.” There were fewer comments than a link published ten minutes later — “Fundamentalist Christian schools in Louisiana will soon be citing the existence of the Loch Ness monster as proof that evolution is a myth” — but they were comments of single-minded delight. The next morning, Zimmerman saw the thread in his morning Internet regimen, and within an hour had put up his own post that would go on to gather some 1.3 million views entitled, “Public Radio Reporter Interviews His Two Little Girls After One Gives the Other the ‘Worst Haircut Ever.’”

“It didn’t really matter that it was audio,” says Zimmerman. “It was more about how it was being received online.”

In one sense, it followed the same trajectory as all viral content, or what YouTube’s Kevin Allocca has defined as a combination of “community participation” and “tastemakers.” Something becomes popular in a niche community, whose public enthusiasm attracts the notice of a tastemaker, who then repackages it to suit a larger audience, where the entire process repeats on a larger scale.

But really “Two Little Girls” succeeded in spite of its immediate community. Cohen first had to be convinced to put it online at all, and even then it was on a website searched only by public radio station managers. While Cohen says it made the rounds of his Facebook friends, it only took off after audio enthusiasts heard it at a coffee shop.

Compared to other media, even young, tech-savvy audiophiles are less likely to share audio on a weekly basis, and when they do, they’re more likely to use email instead of social media.

The barriers that nearly blocked “Two Little Girls” from finding a larger audience are a mix of culture and technology. While home videos make the leap to YouTube all the time, audio makers tend to keep their scraps to themselves. When I took an unscientific poll (n=60), it backed up what I heard anecdotally: Compared to other media, even young, tech-savvy audiophiles are less likely to share audio on a weekly basis, and when they do, they’re more likely to use email instead of social media.

Several echoed the sentiment of occasional radio producer Laura Griffin, who said, “I tend to assume that most people don’t have the same patience and appreciation for audio that I do, so I am selective about what audio I share and with whom.”

Others pointed to technological limitations. The files themselves are large and often forbid downloading. Audio-hosting websites employ an inconsistent potpourri of players, many of which disallow the embedding that has helped make online video ubiquitous. (Some PRX audio can be embedded, but Gawker had enough trouble with its player that they uploaded the audio into their own.) “I often don’t share NPR audio because their player isn’t embeddable and requires going to another website to listen,” notes multimedia producer Will Coley.

There is one standard format for distributing digital audio, but rather than resolving these barriers to sharing, it may be their most perfect expression: the podcast.

The Podcast Problem

If you don’t know what a podcast is, you’re in the majority.

Technically, it’s an RSS feed containing links to files (“podcast” typically implies an audio file). Using podcast-listening (formerly “podcatching”) software, you can “subscribe,” setting your computer or smartphone to automatically download the new and get rid of the old.

It’s hard to appreciate in 2013 the enthusiasm with which this simple idea was met by the mid-2000s media.

“I haven’t seen this much buzz around a single word since the Internet,” computer programmer Carl Franklin told the New York Times in 2004.

By letting everyone become broadcasters (or really “podcasters”), it was supposed to disrupt radio in a way that was predicted to parallel that other online media format with a horrible portmanteau name: blogging. In fact, the name “podcast” was tossed off by the Guardian's Ben Hammersley between the alternatives “audioblogging” and “GuerillaMedia.”

It wasn’t all hype. Anyone can start a podcast, just as anyone can blog. The podcast did close the loop, in its clunky way, between where people download and where they typically listen. And aficionados can point to a long list of programs, especially covering technology and — more recently — comedy, which never would have existed otherwise.

12% of Americans listened to a podcast in the last month, the same percentage as three years ago.

But while much of online publishing now takes the form of the blog, interest in podcasting seems to have flatlined. According to Nielsen Audio (formerly Arbitron), 12% of Americans listened to a podcast in the last month, the same percentage as three years ago. It is a substantial niche, but smaller than the percentage of people who create online videos, and less than a sixth the number who watch them.

“There was a huge wave of initial excitement around podcasting changing and disrupting and turning upside-down radio seven years ago, or longer,” says PRX’s Jake Shapiro. “And then it kind of just petered out.”

While the number of podcasts has proliferated, the vast majority of episodes have audiences in the double or triple digits, judging from the experience of podcast hosting giant Libsyn. “If you want to do the average, our mean podcast? Now you’re looking at like 200, 250 downloads per episode,” Libsyn’s Rob Walch told NextMarket Insights's Michael Wolf. The majority of top podcasts, far from being grassroots disruptors, are major public radio shows: “This American Life,” “Wait Wait Don’t Tell Me,” and “Radiolab.” It’s the dominant way of finding an on-demand audio audience on the Internet, but it’s more Hulu than YouTube.

The absence of disruption is, in part, baked into the technology. “It’s clearly the number one barrier to wider listenership,” says Jesse Thorn. Apple gave the format a big boost when it brought it into the iTunes store in 2005, but that walled garden of a market has come to delimit the podcast’s reach. To watch a YouTube video, you click play, wherever it exists on the web. With another click you can immediately share it by putting a player in the feed of your Facebook, Twitter, Tumblr, or even LinkedIn accounts.

To listen to a podcast, however, you have to search for it on an app or in the iTunes store, sign up for it, wait for it to download. (Of course there are other ways to download podcasts, but the majority of podcast downloads occur through Apple.) Click “share” on Apple’s podcasting app, and you’ll be prompted to post an RSS feed, which is a bit like trying to share a new Tom Junod article and instead passing on a password that readers can use to subscribe to Esquire.

These hurdles don’t hamper podcasts that are already well known. Thorn’s podcast audience has been growing steadily by approximately 50% each year. “Radiolab” and “This American Life” — public radio shows that are among the most popular podcasts and the aesthetic guiding lights for young public radio producers — are both approaching a million digital listens for each new episode. For these shows, the occasional episode will get shared more than others, but that “viral” bump is on the order of 10 to 20 percent, and even that seems driven less by social media than old-fashioned word of mouth. “Google is a much bigger referrer to any given episode [than Facebook],” says WNYC’s Jennifer Houlihan Roussel. In other words, podcasts don’t go viral. Nor are they designed to.

As the Guardian’s technology editor, Charles Arthur, points out in the Independent back in 2005, “Podcasts take content and put it into a form that can’t be indexed by search engines or be speed-read, and which you can’t hyperlink to (or from). A podcast sits proud of the flat expanse of the Internet like a poppy in a field. Until we get really good automatic speech-to-text converters, such content will remain outside the useful, indexable web.”

A Cloud Atlas?

If there is any company attempting to create a modern web alternative to the podcast, it’s SoundCloud.

“Podcasting: It’s a fairly old school method of distribution,” says its co-founder and CTO Eric Wahlforss. “We are certainly of the opinion that SoundCloud is the superior way of broadcasting your show across the web.”

If you’ve played audio from Facebook, Twitter or Tumblr, you’ve likely seen it: the slow crawl of orange across a gray waveform. This omnipresent, embeddable player is what has most clearly attracted the moniker “YouTube for audio.” Hoping to make sound as sharable as video, SoundCloud delivers this content via a streaming player instead of a dressed-up file download.

In a Facebook message, data scientist Lada Adamic told me: “Soundcloud does seem to have a lot of sharing activity (everything is dwarfed by YouTube but soundcloud is holding its own) [sic].” SoundCloud was the 11th most commonly submitted domain on Reddit as of March 27, 2013, according to Reddit data scientist Chad Birch, above the Huffington Post, the Guardian and Vimeo. The number of YouTube domains submitted was almost 22 times as high.

But the SoundCloud content accumulating most on social media isn’t what the company calls “audio.” “In our world, in terms of viral content, the real viral content is actually music,” Wahlforss says.

For non-music “audio,” SoundCloud lets broadcasters and podcasters have it both ways, encouraging them to make their shows available on SoundCloud’s platform, while also creating a podcast-ready RSS feed. “We are trying to blur that distinction a little bit,” says Wahlforss.

“We’re on SoundCloud because they have a nice player for sharing on Facebook and Twitter,” says Seth Lind of “This American Life.” But the total plays of their hour-long episodes on SoundCloud peak at roughly 3% of its digital listenership, and are usually under 1%, hovering around 5,000. A look at SoundCloud’s “trending audio” page presents a similar picture: podcast episodes and radio shows, with listenership in the hundreds or low thousands.

Clearly, technology alone doesn’t ensure the virality of an hour-long show with a headline designed for consistency rather than clickability (e.g.: “#513: 129 Cars” from “This American Life”). “It’s probably not going to be as popular as a Gangnam Style,” Lind notes, dryly. The audio that has gone viral takes a different tact: short, tailored specifically for SoundCloud, and providing a near-immediate pay-off that fulfills the headline’s promise.

Much of it is some mix of rant and newsworthy document, like AOL’s Tim Armstrong firing Patch’s creative director, or Charles Ramsey’s 911 call after he helped rescue three kidnapped women in Cleveland.

But the most heard, and most truly social example of SoundCloud’s viral audio is a New Zealand radio host’s dramatic reading of a series of text messages from a one-night stand gone unhinged: “This Is What Crazy Looks Like Via Text Messaging.” “Fletch & Vaughan” host Vaughan Smith found the texts on BuzzFeed and performed them as part of a four hour-long drive-time show. He then uploaded it to SoundCloud and shared it on Facebook to appease callers who wanted to hear the skit — but only that one skit — again.

“At the end of the weekend it hit a million plays,” says Smith. “It was mental.” With more than six million plays to date, more people have heard the version from “Fletch & Vaughan” than have read the BuzzFeed article it was adapted from — a triumph of sound over text.

It couldn’t have gone viral without a player as sharable as SoundCloud, but perhaps more importantly, it couldn’t have gone viral without the active unearthing of comedic gold buried within a longer broadcast. “In public radio, only within the last few years has there been a big value seen in disaggregating content from shows,” says PRX managing director John Barth. “And there’s still a pretty big debate about that.” These concerns echo the now-largely-obsolete resistance of other media to the Internet. They want listeners to experience the whole enchilada, not take the ingredients and re-contextualize them.

As for creating a whole new audio cuisine — work cooked up specifically for a SoundCloud audience — the successful examples are elusive. “We mostly use it as a promotional tool really,” says Smith. “We use it to promote the podcast.”

The Message Is The Medium

Last October, Reddit's Alexis Ohanian told a basement full of audiophiles to go make "the Upworthy for audio," but in a sense, we already have the Upworthy for audio: Upworthy. With its scientifically-selected, clickbait headlines, it is the reason nearly two million people have heard the future president of Ireland Michael Higgins dress down rightwing talk show host Michael Graham (“A Tea Partier Decided To Pick A Fight With A Foreign President. It Didn’t Go So Well.”) It’s the reason hundreds of thousands have heard Geoffrey Gevalt tell a small poignant story, set to music, about his daughter (“A Toddler Gets Totally Profound In a Way Most Adults Don’t”) and Summer Puente about her father (“Every Night This Dad Falls Asleep in Front of the TV. There’s a Beautiful Reason Why.”)

The Upworthy sector of the Internet economy isn’t just healthy, it’s insatiable and omnivorous in its appetite for content it can coax people into clicking and sharing. “Whether it’s audio, whether it’s video, whether it’s still images, whether it’s text: my system remains pretty much the same,” says Neetzan Zimmerman. “For me it doesn’t really matter.”

The viral industry can help solve audio’s skimming problem, but only if it can find the content in the first place. “Radio doesn’t do a very good job of marketing itself to the viral industry, for whatever reason,” says Zimmerman. “Maybe it thinks too highly of itself, or thinks of ‘viral’ as a cheapening of its content. I really disagree with that. I think there’s a lot there to be mined, and a lot that gets ignored.”

“Marketing” makes it sound like radio makers simply need to do a better job of drawing attention to their work. And it’s true: active, public sharing directed at non-audiophiles is how Zimmerman found “Two Little Girls.” If there were a website that showed what audio was “trending” in some smaller community, Zimmerman says it would become part of his system. “One hundred percent. No doubt about it.”

There are also plenty of short podcasts and single-serving radio stories that are poorly labeled on obscure web pages or presented in unembeddable players. “Nobody that I’ve seen, even the best of them, spends time thinking about how to create the metadata or the descriptions: the things that might actually catch your attention,” says PRX’s Jake Shapiro.

More fundamental than marketing is the question of where audio makers see a market. “So far nobody is producing audio, really, for an audience that might be scanning for things to enjoy,” says Shapiro.

“It’s somewhat of a chicken and egg thing,” he says, “Until producers have any kind of confidence that there’s an audience or some money to be made — or preferably both — they’re not really targeting it.”

“If it can’t be used for pornography it’s never going to be the most popular thing.”

Perhaps Facebook will tweak its algorithms to favor audio. Perhaps SoundCloud or PRX or Apple will make a social alternative to podcasting. “It’s possible that someone will make this app that’s all about sharing audio that will be the next Snapchat,” suggests Seth Lind. “That’s obviously not going to happen,” he quickly adds, to make sure I know he’s joking. “If it can’t be used for pornography it’s never going to be the most popular thing.”

But Jeff Cohen and “Fletch & Vaughan” demonstrate that audio makers don’t have to wait for a deep shift in technology to court a viral audience. They would, however, have to create audio not for already-dedicated radio and podcast listeners, but for the distracted, impatient crowd that is the web. Audio enthusiasts would have to evangelize on that work’s behalf, not just in coffee shops or emails to each other, but online, loudly, with the same manipulative, click-chasing techniques wielded by the rest of the web.

The day “Two Little Girls” went viral, Jeff Cohen tweeted: “I fear I may disappoint new Twitter followers once they realize that I mostly write on Hartford, government, and healthcare. Not my kids…” That is still more or less his beat, though he does also have a children’s book (“Eva and Sadie and the Worst Haircut EVER!”) due out this summer.

“I don’t know anything about the Internet, really,” Jeff Cohen says. But the way he sees it, although he got lucky, he also made his own luck.

“I didn’t cut anybody’s hair. But when you see an opportunity, you take advantage of it.”

Stan Alcorn is a print, radio and video journalist based in New York City. He regularly reports for WNYC, Marketplace and NPR and is a staff writer for Fast Company's Co.Exist.

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btschooseafic · 3 years

Text

Hey you, what’s your dream?

Pairing: platonic!oc x ot7

Details: manager!oc, predebut/idolverse, partial BTS World!verse

Summary: Debut day!

Warnings: This is a fictional story based on real events. The characters presented here are not the same as their real life counterparts. (TW: panic attack, dieting mentions) [Masterlist]

Track 22: Debut!

Started From the Bottom- Drake

“Started from the bottom now we’re here

Started from the bottom now my whole team fuckin’ here.”

Debut Showcase, Gangnam Ilchi Hall-June 12, 2013

“Aviva-yah,” Yoongi called. Aviva looked up with her camera, only to be faced with Yoongi snapping a picture of her with his. He looked down at his camera and grinned. “Looks good.”

Aviva looked him over. “So do you. I really like the skirt.”

Yoongi did a little twirl. “Hip hop!”

“Ah… I’m so nervous, I’m stiff as a board,” Jin muttered.

“Want a massage, hyung?” Jungkook offered. Jin blinked at him.

“Seriously? Yeah, that would be great.” Jin sighed happily as Jungkook massaged his shoulders. Aviva walked over, getting a shot of them. “You’re good at this. How come you don’t do it more often?”

“Cause this is a special occasion,” Jungkook told him. “Don’t get used to it, hyung.”

“…I’ll pay you in food,” Jin offered.

“…I’ll consider it,” Jungkook said. Aviva laughed. They glanced at her.

“Yah, go away, camera-ninja,” Jin said.

The boys preformed Bulletproof Pt. 2, No More Dream, and Like to round it out. In-between changing their outfits, Aviva got a quick word with Yoongi and Hoseok.

“How’s it going out there?” She asked them. Yoongi and Hoseok looked at each other.

“Good~?” Hoseok said.

“Good~” Yoongi agreed. Namjoon stepped up behind them, putting his hands on their shoulders. Hoseok clutched his chest as Yoongi plastered on an overly surprised face.

“What’re you guys doing?” Namjoon asked.

“Talking about how great you guys are,” Aviva told him.

“Yah!” Namjoon flushed. “It’s time to get back on stage!” He pointed his finger in the air. “Let’s go!”

Afterwards, Aviva stood off to the side, watching the boys get interviewed about their first performances.

Yoongi spoke about how they were more authentic than other idol groups doing hip hop. Namjoon spoke about wanting to reach out to teenagers and get them to think about what their dreams were, and wanting to win a Best New Artist Award.

At the end of the night Aviva presented them with a custom-made cake. “Sorry I didn’t bake this one,” she said. “But I saw an ad for this bakery, and I thought it could be cool.”

“It is!” Jimin assured her. “Your cakes are probably the tastiest, but this one is very pretty.” Aviva clenched her fist.

“I’m going to improve my cake decorating skills.”

“Ah, that’s not what I…” Jimin smiled at her determined expression. “Okay, I can’t wait to see what you come up with—shall we eat?”

M!Countdown Debut! June 13th 2013

At their debut M!Countdown stage, Aviva was carrying around her camera again, to get behind the scenes footage.

Joonho and his assistants were working hard to mark sure every item of clothing was perfectly place. Jihye and Eunjung were chatting as they waited for their turn. However, Aviva could see that Eunjung had already gotten to Namjoon earlier this morning with an important addition to his hairstyle.

Aviva laughed, stretching her arm up and tracing the letters RM that had been shaved into the side of his head. “I haven’t seen this yet…”

“What? You don’t like it?” Namjoon said nervously.

“I’m not sure,” she admitted. “It’s just… I wonder what you’ll think about this style when you look back at it. Fashion is so changeable…”

“All the more reason to enjoy it now!” Hoseok said, popping up behind them, wrapping one arm around her shoulders and the other around Namjoon’s back.

“You would say that,” Aviva said, flicking the spiky mask.

He laughed. “You really like this thing, huh?” He struck a dramatic pose. “What I do for the sake of art!” She and Namjoon both laughed along with him.

Jungkook and Jimin walked over. Jimin spotted the camera and swerved slightly to sit on a nearby bench.

“I’m going to practice,” Namjoon said, turning towards the wall and taking a few deep breathes before launching into one of his verses. It was the quick one.

Hoseok mimicked him jokingly. Jungkook watched and then did the same. Hoseok laughed.

Namjoon frowned, pointing at Jungkook. “I hate this kid.”

“No, you don’t, Namjoon-ah,” Aviva said easily.

“If you’re gonna copy me, try and do it properly, at least,” he challenged. Hoseok shrugged. Jungkook tried. “Not similar!”

“He can’t do it so well when he’s under the spotlight like that,” Hoseok told Aviva.

“Well, Namjoon-ah does have his own style of rap,” Aviva thought. “You should rap like yourselves, not like him. That’s what makes you all special.”

“Aw.” Hoseok poked her on the cheek. “Cutie, manager-nim.”

“…Can we move on?” Aviva said. “Your audience doesn’t want to hear about me, they want to hear about you.”

Jimin quickly rapped the verse, blushing when they turned to him.

“Ah, sorry,” Jimin said in English for some reason.

“No, it was cool,” Namjoon told him, patting him on the shoulder. “You’re the coolest.”

Readier, the boys loosened up by seeing who could rap the fastest in English. Then Namjoon moved on to walking through their performance. Aviva could see the maknae line’s eyes glazing over as he spoke. Taehyung spotted her and blew her a kiss. Jimin noticed and laughed quietly. He moved over to her.

“Shouldn’t you be listening to your leader?” Aviva teased.

Jimin grinned sheepishly. “Ah, well… I thought maybe our fans could use an update on what we’re doing? That’s who you’re recording this for, right? Our fans?” He thought. Aviva nodded. “Right now we’re in the waiting room.” Jimin pulled at Jungkook’s arm. “Jungkook-ah.” Jungkook turned around and stepped closer to them. “The camera’s on, see?” Jungkook bent down slightly.

“Yah, you don’t have to bend down,” Aviva said. “I’m not that short…” Jungkook laughed. “What will you do next, Jiminie?”

“Next we will…”

“Lose weight!” Jungkook said. Aviva frowned.

“Eh? Why~”

Jungkook laughed. “Stop with the aegyo, noona, you’re too old for that!” He turned back to Namjoon, walking closer over to him to listen.

“…Jungkookie’s a little grumpy today, isn’t he?” Jimin thought.

“Nervous?” Aviva wondered.

“I am,” Jimin admitted.

“I meant Kook... but, yeah, probably everyone is. I mean, I’m nervous and I’m not even performing!”

Jimin grimaced.

“Namjoon-ah, Jungook-ah, have you changed your socks?” One of the assistants asked. The boys broke up to continue getting ready.

“Well… we’re going to lose weight now, I guess,” Jimin said. “Yes, going to lose weight diligently. So I can show you great abs.” He looked down at himself.

“Your abs are already great,” Aviva told him honestly. Hoseok popped up behind Jimin, his plainer mask hanging over his chin.

“What are you doing?” He wondered.

Jimin blinked at him. “What?”

“Jiminie’s giving the fans an update!” Aviva told Hoseok.

“Right now we’re changing into our cool outfits before rehearsal,” Jimin told her and the camera. He wiggled his many ringed fingers at her.

“Bling~Bling~” Hoseok said. He held up his own gloved hand. “It says Bangtan Sonyeondan on it!”

“They are cool gloves,” Aviva agreed. “But you’re interrupting Jiminie.”

“Yeah, don’t interrupt me while I’m speaking to the camera, hyung!” Jimin said. “I get…” He glanced at Aviva and then looked away from her, staring at his feet. “…Shy.” He laughed nervously.

“Why?” Hoseok wondered. “It’s just Avi-yah.”

“It’s fine.” Aviva switched off her camera. “We can take a break.”

“Thanks, noona.” Jimin smiled at her.

“Cookie?” Yoongi offered, holding a small snack bag out to them.

“Ah, no thanks, hyung,” Jimin said. “I’m still dieting, so…”

Yoongi shrugged, holding it out to Aviva.

She took one. “Thanks.”

“You know, your shyness is cute, but you have to get used to the cameras if we’re going to debut now,” Hoseok said to Jimin.

Jimin frowned. “Yeah, well, how do you suggest I do that, Hobi-hyung?”

“Hmm…” Hoseok grinned. “I dare you to flash your abs to the camera.”

“Eh?” Jimin said. “Why?”

“Why?” Aviva agreed.

“Well, he’s going to be doing it on stage all the time now, so it’d be good practice, right?” He figured.

Jimin’s brow furrowed. “He’s got a point.”

“Yes, but the internet is forever,” Aviva reminded him. “If I post this…”

Jimin let out a breath. “Let’s do it.” He gripped the edge of his shirt. “Film me, noona.”

Soon they moved upstairs to the stage for the rehearsal. She got a shot of them moving up the stairs. Jungkook spotted her and waved.

“Ah, manager-noona, when did you get here?”

The other members shot her peace signs as they passed.

They moved straight from the rehearsal into the pre-recording for No More Dream. Aviva watched from the side and then ran around the corner to meet them as they exited the stage.

Aviva filmed them walking off stage, down the hall. The assistants were waiting with tissues to blot at their sweaty faces.

“This leather…” Namjoon muttered, pulling at his shirt, which was sticking to him with sweat. She switched her camera off, letting it hang off her neck. “Honestly.”

“Bend down.” She motioned at him. He did and she carefully dabbed at his face with a tissue, not wanting to ruin the makeup artist’s hard work. “There’s water and towels in the dressing room.”

“Good,” Yoongi said as he passed her. “It’s hot.”

Aviva froze, spotting Jin crying as he stepped off the stage.

“Oppa…” She frowned, noting one of the other cameramen was following him closer to get a shot. She followed them too. “Yah, give him some space.” The camera man hesitated. Aviva flashed her employee ID, and a glare at him. The camera man waved his hand and retreated out of the room. Jin was surrounded by assistants who were wiping his face and fanning him. Jimin and Namjoon were hovering, watching him concernedly. “Hi, Jinie-oppa. It’s okay to cry, you know.”

“But, I’m the oldest," he choked out. "I'm not supposed to..."

“You may be the oldest, but you also have the most sensitive heart,” she thought. “It’s a curse and a blessing.”

“I need to… get ready… for the… performance.”

She frowned at his ragged breathing.

“Seokjin-oppa.” She leaned up, brushing his hair away from his face. “Can you breath with me? Copy my breathing. Come on, slowly in… and out… good job.”

“Sorry,” he muttered, as his breathing settled.

“Hey, it’s a big moment, it makes sense to have big feelings, you don’t need to apologize, okay?”

“Okay.” He smiled slightly. “Guess I’ll say thank you, then.” He bent and kissed her forehead. “Thank you, manager-nim.”

“You two are being very sweet, but you should know, Avi, that he’s crying because his pants kept falling down,” Namjoon teased.

“Yah!” Jin protested, his face turning pink. Namjoon laughed as Jin got him into a headlock and rubbed roughly at his head.

“Ah, watch it—Eunjung-ssi is going to yell at you!”

“Eh? I thought it was because he made a mistake?” Jimin said to Aviva. Jin glared at him. Jimin patted him on the arm. “Don’t cry, hyung, it makes me want to cry too.”

Jin rejoined the others to do their huddle and cheer before they stepped back out onto stage to preform Bulletproof Pt. 2.

Jin waved at her as he passed. Yoongi gave her two thumbs up. Namjoon flashed her a peace sign.

After the performance, Aviva was waiting for them again near the door.

“We did well!” Jin said, hugging her. She laughed.

“Ah, oppa, I’m filming!”

“Our first broadcast recording!” Jin hugged Hoseok.

“First success!” Hoseok did a double fist pump.

“Oh yeah!” Namjoon echoed him as Jin moved on to hug Yoongi. “We’ll do even better on tomorrow’s stage.”

“We will do better tomorrow,” Jin agreed, though he was more subdued than the other two. He smiled weakly. “I have confidence for tomorrow.” Aviva couldn’t find the words. Instead she reached up and brushed his hair out of his face again.

Music Bank, No More Dream Debut!- June 14th 2013

The next day during rehearsal, Yoongi showed off his shirt with his stage name on it to the camera.

“I’m Suga, you see that?”

Aviva nodded. “Otherwise I wouldn’t know who you are.”

“Yah, you brat, it’s for the dry rehearsal,” he said. “You know that.”

Taehyung laughed behind them. Yoongi made a silly face at him. He laughed harder.

Aviva went out into the seats out a couple rows away from the stage to film their rehearsal.

“Yah, noona, don’t you have confidence in me?” Jimin whined after they finished the rehearsal and gathered back in the dressing room. “I know I made a small mistake with the kick, but I promise I’ll practice—and I always get the jump right every time. Every time!”

Aviva was taking a break from filming to charge her camera.

“Hmm? What do you mean?”

“The part when I jump over Hobi, I saw how nervous you got!”

Aviva blushed slightly. “It’s not that I don’t trust you, Jiminie, I just… you know I worry.”

“Then don’t watch that part, close your eyes,” Yoongi suggested.

She frowned.

“I can’t do that. I have to support you guys, and get behind the scenes footage, and—“

“Okay, okay.” He waved his hand. “It was just a suggestion.”

She chewed at her lip. “I like the thing with the hat though. It’s cute.”

“I’m not sure cute was what Hobi was aiming for, but I’ll take it!” Jimin said.

Aviva got her camera back in time to film Jimin and Yoongi practicing their dance moves. Taehyung joined them.

“We have to do well,” he told Aviva seriously. “There’s only one chance.” She tilted her head.

“One chance for…?”

He blinked at her. “There’s only, one chance~” He started to sing.

She nodded. “One Shot, B.A.P.”

“Ding, ding, ding—correct!”

Meanwhile, Jungkook trying some of Namjoon’s throat spray.

He coughed. “Are you supposed to drink water with this?”

“Hmmm?” Namjoon looked at him sleepily.

Aviva turned to get shots of the other members. Jin spotted her and waved with the sleeves of his leather jacket, which he was wearing backwards. She laughed.

“Why are you being so cute?”

He pouted at her. “Are you suggesting I’m not usually cute?”

“You’re not usually this shy,” she thought.

“Ah, I did a shy introduction, so I’m still shy now,” he explained.

She nodded. “Well, that’s okay, oppa, I like both the shy and confident versions of you,” she said honestly. He blushed. “Where did Kook go? He was just here...” He laughed.

“Ah, yeah, he’s fallen asleep again.”

Jungkook had almost passed out in his chair.

“Drink,” she ordered him, handing him a water bottle as one of the stagehands fanned him.

“What?” He smiled at her, dazed. “Oh, manager-noona, hi.”

She frowned. “You need to eat something, get your blood sugar up.”

“But I’m on a diet~” Jungkook said. “You can’t make me~”

Aviva sighed. “What about some juice?”

He blinked and nodded. “Yes please.”

“I’ll get it for him,” Jin offered, pulling his jacket on the right way around now. Aviva glanced over at Jimin, who was still practicing.

“Get one for Jiminie too, please.”

Jin nodded.

“One juice for the maknae and one for the Bagel Man, got it.”

Aviva squinted after him.

“Why is Jiminie a bagel?”

“It’s a combo between baby face and glamorous body,” Jungkook explained. He smiled. “Namjoon-hyung told me I’ll probably be like that someday.” His brow furrowed. “Hmm, where did Namjoon-hyung go?”

“I’ll look for him.”

She found him sitting on a chair in the hallway, his head in his hands. He looked like The Thinker, except even stiffer than stone. She switched off her camera, having a feeling he wouldn’t want the fans seeing him like this.

“Namjoon-ah…” Aviva punched lightly at his back. “You’re so tense. Come on, man.”

He squinted at her.

“If that’s an attempt at a massage, you’re failing.”

“No, I’m just hitting you.”

“Oh. You’re doing great then.”

She sighed, laying her hands flat and smoothing them over his shoulders, kneading at the tense muscles.

He made a bit of a happy noise.

“Better?” She asked in his ear. He jolted and then stiffened again. “Sorry.” She withdrew from him.

“No! I…” He turned, his face red. “It’s fine. That was… nice. Thanks. You, ah, weren’t filming that, were you?”

She shook her head. “I do still need some more footage though.”

“You’ll find it,” Namjoon said confidently. “You’re good at this.”

“You’re so amazing, Syub Syub,” Hoseok was saying to Yoongi back inside the room. “You actually danced.” Yoongi turned, spotting Aviva with the camera.

“I usually don’t show off my dancing,” he explained to any future viewers.

“You’re so cool,” Hobi praised. Yoongi smiled awkwardly. Hoseok turned to Tae. “V-ssi, you should show us too.”

Taehyung blinked. “Show what?”

Hoseok hummed one line of the song. “That part.”

Tae did a confused little head wiggle for the camera.

It was cute, but awkward.

“The truth is, V-ah doesn’t do that part,” Yoongi told the camera.

“Oh?” Hoseok smirked.

Yoongi squeezed Taehyung’s shoulder.

“You don’t need to know that part. It’s not yours.”

Hoseok shot an apologetic look at Tae, who was frowning, and then attacked him with a hug, biting his shoulder for some reason.

“Ah, hyung, you’re not a vampire!” Tae said, laughing.

“You’re so cute I just wanna eat you up!” Hoseok told him. Taehyung ran away from him, hiding behind Aviva.

“Yah, leave Taehyung-ah alone,” Jin said, stopping his neck stretches to glare at Hoseok.

“Are you okay?” Aviva asked Yoongi as Tae leaned on her. “How’s your shoulder?” He frowned at the camera. “Ah, sorry, I can edit that out.”

“Please do. The shoulder’s fine,” he told her. “Right now, I’m a little nervous for the pre-recording. I feel dazed, but I’m keeping myself on my toes.” Hoseok and Jin popped in and out from behind him making faces. Tae flashed a peace sign in front of the camera. Yoongi completely ignored them. “We’ll work hard. Please watch over us.” He smiled, just a tinge of annoyance on his face.

“But you’ve been great in front of the camera,” she told him. “I really appreciate it, since it gives me more material to pick from… but don’t force yourself, okay?”

“I’m not,” he told her.

“Swag!” Namjoon called out as he passed the camera, ready to preform. Aviva tried not to laugh. Yoongi bowed slightly. Hoseok and Jimin flashed peace signs.

Aviva watched from the side, grinning as girls shrieked at Jimin’s abs reveal, and cheered at Jimin’s leap.

“We finished it!” Namjoon said as he came off stage, smiling in relief.

“Ah, that was scary!” Yoongi said, rubbing his chest.

Jungkook pronounced it, “So-so.”

“The end!” Hoseok said, flashing a peace sign at the camera.

“Hi.” Jin waved shyly. “We did well, I think.”

“The end!” Tae said, flashing a peace sign. Aviva laughed.

“Hobi just did that!”

Tae pouted.

In the dressing room, Aviva looked at Jimin.

“Have you been avoiding me?”

“Not you, necessarily…” He eyed the camera and stepped closer, pointing. “That red light scares me the most. It makes me wonder what I should say.”

“Just be yourself,” Aviva told him. “If I record anything you’re uncomfortable with sharing, I can always edit it out. I promise not to post anything you don’t want me to.”

Jimin smiled, stroking the lens like it was the face of his lover.

“You’re a good girl, huh?”

“I won’t be if you keep touching the lens!”

He laughed.

Across the room, Jin was making faces at Aviva, passing his hand over his face, and changing his expression dramatically. A sleepy Taehyung was sitting next to him as he got his makeup fixed, clearly not amused.

“Wow, I’m so nervous,” Jungkook said as they headed back towards the stage for the live broadcast.

“You got this!” Aviva told him.

During the performance, Aviva was out in the audience again, catching shots of the fans cheering, especially when the boys flashed their abs, and got into their dance solos.

Afterwards, the boys made more faces at her as they came off stage. The photographer had disappeared somewhere, so Aviva was put in charge of taking the after-performance group photos for the fans. Tae and Jimin were reaching across the group to hold hands, as Hoseok bit down on Jimin’s head for some reason.

“Hobi!” Aviva called out to him. “Do I need to get you a teething toy?” The boys laughed, including Hoseok.

“Ah, we are born in the year of the dog, after all! Come play with us!” He walked over and grabbed her hand, waving at one of the assistants. “Hi, hi, noona, can you get a picture of us with our manager too?” He patted Aviva on her head, ignoring her protests. “We won’t post it anywhere, so just stay still and let us commemorate this moment. You’re part of it too, you know.”

#bts #fanfiction #idolverse #ot7 #manager!oc #bts x oc #ot7 x oc #bts predebut #bts fanfiction

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bangtan-sonyeonddaeng · 4 years

Text

Get to Know Me Uncomfortably Well (kpop edition)

Thank you for tagging me @anoesjkaax ^^

1. Which group have you thought about stanning, but never seem to get around to it?

Oneus. They’re so talented and amazing and I really need to start giving them the love they deserve.

2. Do you have any irl friends that like kpop?

All of my friends like kpop :) it’s how we became friends.

3. How old were you when you first got into kpop?

Hmm 7 years ago so 20 ^^

4. What song(s) took you a while to warm up to?

Lotto by exo. I actually hated that song at first because of all the auto tune but now it’s a jam 😂

5. Have you ever disliked a group/idol? If so, why? (You don’t have to say who it is if you’re scared of getting hate).

Dislike? Not really just embarrassed for. Let’s just because of extremely questionable life choices.

6. What annoys you the most about kpop?

How controlled their lives are. From their appearance to who they talk to and when, it’s just sad to me.

7. What do you love the most about kpop?

That it transcends languages and makes so many people all over the world happy in their dark times.

8. Do you only listen to kpop?

Nope! I also listen to western pop, metal, and rock.

9. Who are you favorite western artists (if you have any)?

Killswitch engage, Post Malone, Billie Eilish, Sam Smith to name a few.

10. How long have you been into kpop?

7 years ☺️

11. What music did you used to listen to before getting into kpop?

Heavy metal

12. What fandom(s) were you in before getting into kpop? Are you still in them?

A lot of anime ones (although I wasn’t nearly as invested in these as I am kpop) : Tokyo ghoul, Naruto, attack on titan, yuri on ice. Never really got into music fandoms until I found kpop.

13. Which group did you used to think was overrated but ended up loving?

Hmm... to be fair I really don’t find any groups over rated? They all work extremely hard to make it and they all deserve love and appreciation.

14. Is there a kpop song that annoys you? If so, which one?

Aha I have quite a few that I really don’t like: Gangnam style, catallena by orange caramel, bar by crayon pop, zimzalabim and umpah umpah by red velvet (IM A HUGE FAN OF THEM OTHERWISE DONT COME AT ME PLZ)

15. What aspects of kpop make you cringe/feel secondhand embarrassment?

How crazy the fans can be at times. Stalking idols, mobbing them, and sending people death threats or saying hurtful things to others just because they don’t like your bias group is 🙅🏻‍♀️

16. Which concepts do you love?

It depends on my mood and the group, sometimes I love cute concepts and sometimes they make me cringe. Sometimes I like dark / sexy concepts and other times they make me uncomfortable. 🤷🏻‍♀️

In particular though I love Ateez whole pirate concept I must say.

17. Which concepts do you hate?

See above lol.

18. If you could trade places with an idol, who would it be?

Oh hmm that’s a good question! Maybe Taehyung so I can be best friends with Jimin and all the other bts members and play with Yeontan :3

19. What do you look for in a bias?

My bias list is so over the place. I don’t really have a criteria. It’s usually one thing or moment that makes me say “wow ok that person is my bias”. (Although by coincidence most of my biases are from Daegu)

For example: I had a hell of a time deciding who my bias is in got7 until JB said in an interview that if he could only keep one memory of got7 it would be when they first met so he could find them all again. Such a sweet moment.

20. Which kpop company do you hate the most?

That snake YG 🐍 I’m not even going to get into it but they’re horrible. Not to say I don’t like the groups from there, just the company. Starship kind of on my shitlist too after everything with Wonho.

21. What are you opinions on shipping?

I ship members in groups but I do so quietly because I’m sure it makes the members uncomfortable. So I don’t mind it, just don’t throw your ship in other peoples faces and act like it’s real and your ship is superior to others.

22. How did you get into kpop?

My neighbor was Korean and played me Big Bang and I immediately loved it. But Then she was like hey there’s this new boy group that debuted you should listen to them too. And that boy group was bts and everything just went up from there 💜

23. Has anyone ever made fun of you or looked at you weird for liking kpop?

Yes 🙃 one person in my family in particular until I blew up on him and now I don’t get off handed comments anymore.

24. What is the cringiest thing you did when you were starting to get into kpop?

I don’t really remember anything cringe I did tbh that was a long ass time ago 😂

25. How long does it take you to learn the names of each member in a group?

I can learn them within a few hours if I focus on it.

26. Are you a gg, bg, or middle/coed stan?

I love them all. BTS, mamamoo, kard, theyre all amazing.

27. If you could hang out with one idol, who would you hang out with?

Jimin. Just because he’s helped me the most of any idol to overcome my body image issues and really start to learn how to love myself. I want to thank him for that.

28. Who is the bias to your third favorite group?

This adorable bean right here. Choi San 😊 I adore his dimples so much 🥺

29. What name from your native language would you give your ult bias?

Like a nickname or something? I guess angel because that’s exactly what he is

30. Thought on fanfiction/AUs/etc?

I love them! Reading and writing them :)

#tag games

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theouijagirl · 5 years

Note

How did you get into kpop?!! It seems u were into it before it really blew up

Okay here is the story.

In 1999 I discovered Ayumi Hamasaki, and fell in love, and I listened to literally nothing but her until 2004. Like, literally. Nothing else. When Ayu stopped putting out new singles every other month, I started listening to Utada Hikaru and Namie Amuro and BoA and all the other queens of J-Pop, which slowly got me into J-Pop has a whole. I would learn about new releases by keeping an eye on world charts. Every once in a while a Korean song would pop up on there, but it was ALWAYS an OST ballad, which bore me to death, so I just totally dismissed Korean music as a whole.

One day I was bored on YouTube, and on the front page, among all kinds of random stuff, was a K-pop video, and from the thumbnail that was a goddamn queen. So I clicked, and it turned out to be HyunA’s Bubble Pop!, and I’m not kidding you, that was the moment that I realized I wasn’t heterosexual. I downloaded the song and was obsessed, even though I didn’t understand a word (other than the English). That video was better than any J-Pop video I had ever seen.

Another random K-pop video pops up on the main YouTube page again, and this time it’s Gangnam Style. I’m giggling along until HYUNA JUST APPEARS IN THE VIDEO??? MY QUEEN?? I was shook. I started paying a lot more attention to HyunA after that, realizing she must be a bigger celebrity than I thought.

I’m still watching the world charts to find new J-Pop, and suddenly, like, there are these new groups and they’re really good?? Tohoshinki is amazing, Shojo Jidai is amazing, like where is this talent coming from? I Google, and they’re ALL KOREAN, and in fact they are Japanese versions of Korean songs. That’s when I also learn that my beloved BoA, whom I own Japanese albums of, is also Korean? I am shook yet again, but not enough to dive in. I keep finding great new J-Pop and it’s just Koreans, like SHINee and Big Bang.

And then a Japanese album of another K-pop group comes out. 2NE1. It’s a masterpiece. They are killing me. I have to have ALL their music because it’s just too good. Their videos are insane. Their vocals are insane. I finally take the plunge and download their entire Korean discography, and I love ALL of it. For a good long time I was obsessed. Then I take another plunge and download all the Korean songs by Big Bang, and Girls’ Generation, and TVXQ!, and so on and so forth, until I stop listening to J-Pop altogether (except for Ayu of course) because a) K-Pop is superior not just to J-Pop but all music in the world, and b) there’s just not enough time to keep up with Japanese groups and Korean groups at the same time, and why keep up with the Korean groups are far superior?

I wasn’t really a mega fan of K-Pop until about early 2015, when I was really depressed and homeless for a while, and I just needed something to cheer me up. So I started watching K-Pop charts on YouTube to learn about other groups out there, and that’s when I feel down the deep dark rabbit hole, to the point where the only English music I actually listen to now is just Taylor Swift, because her music and promotions and stages are basically English K-Pop. It didn’t help that at the time I feel deep into the K-Pop pit that BTS were just hitting it big also, which only added fuel to the fire.

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kachulein · 5 years

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🌸Kpop q&a🌸

tagged by: @http-jinnie & @dreamyfelix 💛💖💛

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⚘Ultimate bias:

None other than the one and only Han Jisung

⚘Ultimate bias wrecker:

Hwang Hyunjin and my Ateez bias Choi San because he's coming for me

⚘Favourite kpop song? don't make me choose

As of now my favourites are Say My Name by ATEEZ and FIRE by Sik-K.🔥

⚘First kpop song?

Hero by Monsta X if you exclude Gangnam Style & Gentleman back when Psy blew up in 2012

⚘Favourite album/single?

I'd say I am WHO by Stray Kids. It's still my most hyped album even though I am absolutely in love with the I am YOU photo books but then again, it's about the music here. :')

⚘Hard or soft stan?

Soft stan by day, hard stan by night.🍵

⚘Favourite kpop company?

JYP, but I want to check out KQ Entertainment more thoroughly as well. I mean, we all know SM and YG is shit (company, not artists obv), so I think JYP treats his artists better and therefore I prefer his company and I've done so for years.

⚘Backstory?

We were on the way back from our language exchange in France, I stayed in Vichy while my friend was located in Lyon. My destination was the last one, so we were the first to hop back into the bus again for our trip back home. I was listening to some newly found hip hop music until we picked up the students in Lyon and I re-united with my friend. We halted at a service area to buy some lunch and have a break from all the driving. My friend and I sat on a trailer somewhere in the parking lot, ate and talked about our experiences during the past three weeks. She then told me about Kpop and how she finally, really, got into it. She'd been listening to some kpop songs for years and never told me smh but never fully got into it, I believe. However, she made me interested in it and a day later(?) back in school she was watching an MV during the big break before French class and I asked what she was watching, so she showed me and it was Hero by Monsta X. I was immediately hooked because I loved the song. Though, back then I remember how them grabbing their crotches and lifting their shirts while dancing made me really uncomfortable and nowadays I'm into it lmao. :')

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tagging: @jinniesmeow @jjisungg @namiiy @littlefallenrebel @littlecoffeecake @janarine @minberryy @sunnycatuwu @pwark-jisung @albdajirks @nielsmoon @stay-serenity @strayology and anyone else who'd like to do it~

#of course you don't have to do it #tagged #tag #kpop q&a #kpop #kpop questions

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anarchaiiblake-blog · 7 years

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OP-ED Girl’s Generation

Okay. So anyone that knows me knows how much I fuck with K-Pop. It’s become a huge influence for me; and anyone who follows K-Pop knows that some crazy shit happened this week!

It was announced that three members of Girls Generation, aka Sonyeo Sidae (SNSD), decided not to renew their contracts with their label, thus leaving the group.

I woke up from a nap and it was the first thing I saw when I turned my fucking phone on! I just kept going “What? Whaat?! Who?! WHAAAT?!”

Tiffany, Sooyoung, and Seohyun decided to not renew their contracts with the label, so they can go about different endeavors.

For those of you that don’t follow K-Pop this shit is BIG.

Since SNSD is a group that I look up to I decided to reflect on this and share it with you guys. Okay so check this out..

BACKGROUND

For those of you that know about kpop, or if your a SONE you can

skip this unless you just wanna read shit from my perspective lol

Hyoyeon Sooyoung Taeyeon Yuri Yoona Tiffany Jessica Seohyun Sunny

For those of you that are unaware SNSD is the most successful girl group in Asia. By 2012 they already sold 4.4 Million physical albums and had 30 million digital sales.

They debuted in 2007 with 9 members, after having trained under their label for 7 years. The gained a lot of attention with their debut song Into the New World, but blew the fuck up when they dropped Gee. 9 times out of 10 if a person has only heard one song from K-Pop they talk about Gee…and probably Gangnam Style.

In 2014 (worst year in k-pop) we found out that one of the members was terminated from the group. They called a random meeting and basically told Jessica it was a wrap. From what I’ve read she was planning on leaving anyway that next year but the true story behind why Jessica was removed has not been told. But there’s mad tea all over the internet with behind the scenes juice. Either way the fanbase (SONE) flipped the fuck out because Jessica was a huge favorite and one of the lead vocalist for the group. Honestly her voice was very distinctive and it sucks not having her in the new songs, despite how good they are. After she left the dynamic of the group changed a lot, but they still dropped good singles.

Also. Jessica. I am sooo proud of you and your continued success! You deserve every fucking bit of it!

SNSD just finished celebrating their 10th anniversary since debuting, in August, with a release of their album Holiday Night. I fuck with the album, and honestly this album could be a last album and be a good piece of work. This is the most mature they’ve ever sounded to me. The album was both a celebration, but definitely had songs that put me in the feels. In moments there were parts that eerily sounded like Jessica. Most of all Light Up the Sky just sounds like a goodbye song and I cry nearly every time I hear it.

That being said, that was a quick background.

TIFFANY, SOOYOUNG, AND SEOHYUN

Tiffany

Sooyoung

Seohyun

So now we get to the present. Sooyoung, Seohyun, and Tiffany are leaving SNSD and SM (which side note: congrats on leaving SM. Good label but they’re mad shady.)

Now when I read these names, I wasn’t surprised by Tiffany. Tiffany basically foreshadowed that she was leaving because she said next year she was planning on moving back to the US in order to study acting. So when I saw that I knew she was gonna leave. (Side Note: Tiffany, Jessica, and Sunny were born in Cali.)

HERE’S what shocked the fuck out of me. Seohyun! Our maknae! The baby! I honestly thought she would stay in the group for a while because she’s still young (26) and is a main vocalist for the group, and could still do outside endeavors while occasionally promoting with the group for a few more years. What I didn’t think about, however, was the fact that because she was the maknae (youngest member) SM entertainment was very strict on things she did regarding her image, and management. They denied her different acting roles, as well as being very controlling over her solo music. She had to completely change the concept she wanted for her solo release because of the label. What’s also shocking is that she wants to sign to a label to focus on acting work! She is an amazing fucking singer and to think we may not hear music from her at all, at least for a hot ass minute, is crazy. I never saw this playing out this way.

Sooyoung didn’t surprise me either; I actually thought that when people started leaving the group that she would be one of the first ones. Her only wanting to pursue acting doesn’t really surprise me either. She has a great voice but I had a feeling she didn’t plan on promoting as a solo artist.

SM is not a good company for acting honestly, so it makes sense that the three of them would want to leave. Also, they’ve been with the label for 17 years. I would want to leave too.

THE GROUP

Now what I can’t stop thinking about is the fact that there are only 5 members left in the group. SNSD is just known to be that group with mad fucking members! Groups with big numbers are more popular now, but still….it’s fucking Girl’s Generation. I would actually really like for them to release singles with 5 members. I’m dying to see what concepts they go with. ESPECIALLY because now the only main vocalist is Taeyeon (unless Sunny is also a main vocalist but I don’t think she is.) I do hope however this means Sunny gets stronger vocal parts because she can really fucking sing! I’m hoping they release more Catch Me if You Can-ese songs since there’s more main/lead dancers now. I feel the members that haven’t been given enough time to shine in the group can have the chance to now and I hope SM does well with that.

QUESTIONS AND REALIZATIONS

1. Do any of the members that left still fuck with Jessica? If so, will they start publicly supporting Jessicas work?

2. Who’s gonna hit Tiffany’s high note in Mr.Mr when they perform throwbacks? Can Taeyeon even hit that note?! No shade, but I legit don’t know if she can.

3. Will they just decide to end the group and not promote as 5?

4. TAETISO is over. I’m not really sad about that. I love them but I only liked Holler, and Dear Santa.

5. How long is this next contract that the girls signed?

6. When there’s finally a reunion some time in the future do you think Jessica will join them?

7. How long do you think it’s gonna take until Sooyoung writes that book that she said she wanted to write, about SNSD?

8. What labels will they sign with next?

9. Will Tiffany eventually move back to Korea? Who do you think she’d sign with?

10. I’m also really sad that Tiffany wont be releasing music because I fucked with her release.

11. Same for Seohyun!! I really fucked with her single too, and I think she’s an amazing singer.

12. I know that Seohyun and Sooyoung plan on doing musicals but that’s not good enough for me because I don’t like in Korea so I can’t see it lol

13. I wonder now that SNSD is basically heading towards a disbandment, if SM will finally stop blacklisting Jessica from performing music shows (YOU’RE NOT LOW SM, WE ALL KNOW!)

14. I honestly thought SNSD was gonna keep going for a hot a minute and just drop less singles, like Brown Eyed Girls.

To the members of SoNyeo SiDae:

It took me awhile to become a SONE but now I am and I truly thank you for all of the hard work you’ve put in for the past 17 years. To train as vigorously as you did, at such young ages, to then be catapulted into stardom, and handle it with such grace is truly a reflection on how amazing all 9 of you really are. You have become a source of inspiration for me to push harder and never stop even when I’m tired. It breaks my heart seeing the end of the second generation of K-Pop playing out. I will continue to love you and bang out to your songs. To the departing members I wish you all continued success in your solo endeavors and I can’t wait to see what’s next to come!

Check out Holiday Night: https://www.youtube.com/watch?v=y2sibUTD6iM

#kpop #snsd #girls genration #tiffany #sooyoung #seohyun #jessica #taeyeon #sunny #hyohyeon #yuri #yoona #op-ed #singer #songwriter #nyc #brooklyn

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hollywoodcelebritieslifesty-blog · 6 years

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Twelve Celebrities Who Were Born Rich

1. Paul Giamatti

When your father is the president Yale University and the Commissioner of Major League Baseball your life is pretty much already set his father a Bartlett Giamatti was the youngest Yale president in its history and even though he passed away shortly after being the new MLB commissioner his legacy lives on but Paul Giamatti didn't depend on his father's fortune to reach his goal the actor first got his big break back in the 1990s and had starred in notable films like The Illusionist big fat liar and straight out of Compton with a net worth of 25 million I think he's doing just fine on his own number.

Here is a younger celebrity who set an example of being rich in very young age.He is none other than Logic you can read in depth about Logic Net Worth

2. Ivanka Trump

Way before her dad even became the 45th president of the United States Ivanka was following in the footsteps of her business tycoon father Donald Trump Donald and his ex wife Ivana have been quite victorious in their endeavors of activities and as the firstborn child Ivanka is set to inherit a ton of money surprisingly Ivanka doesn't display the type of behavior you'd expect from being raised in a prosperous family she is a businesswoman herself and designs her own collections in fact her current net worth is estimated at a hundred and fifty million and I'm sure it'll grow even more.

3. Armie Hammer

Long before he secured the role of The Lone Ranger or played both of the Winklevoss twins Hammer hailed from a long line of greatness his great-grandfather was Armand Hammer a chief executive of Occidental Petroleum and his father is an entrepreneur in the film and publishing production industries hammers grandfather was regarded as a prominent figure as he has interest in pharmaceuticals and other ventures controversially during the Cold War his grandfather continued to trade with the Soviet Union who was involved in the communist and socialist movements also he was an advocate for cancer research back in the 1980s forbes valued his net worth at 200 million and in 2015 it was the third largest oil producer in texas and a sixteenth largest gas producer in the world as of 2016 its revenue is at 10.09 Oh billion.

4.Carly Simon

Growing up I'm sure the name Simon and Schuster rings a bell the American publishing company publishes over two thousand titles yearly when your father is Richard L Simon and the co-founder of the wealthy Empire there's no doubt that you would inherit millions but Carly Simon went down another career path instead she's a famed musician producing hit songs like let the river run and you're so vain selling over a million record copies in the United States the singer top charts for weeks but the singer states she didn't always have a healthy relationship with her dad and her memoir she also revealed she blew her inheritance on therapy sessions and took to songwriting and book writing to express her frustrations which led to good fortune at the end.

5. Psy

With over two billion views on YouTube the Gangnam style singer didn't make his millions for music but he was actually wealthy in his own right before he became famous hailing from the Gangnam district in Seoul South Korea his father Park wonho is the executive chairman of DI corporation and his mother owns several restaurants throughout the district so I was actually expected to take over his father's company and went to Boston University in 1996 to study business however when he came to the United States he lost interest and dropped out to study at Berklee College of Music despite a risky career move he has achieved international stardom and after the release of Gangnam style his father's company doubled surging to a hundred and thirteen point five billion so I'm sure there are no hard feelings.

6.Nicole Richie

The reality star was adopted and raised by Lionel Richie when she was just nine years old so even though she wasn't born into wealth she still grew up in an affluent family before making herself known through reality television in fact shortly after her adoption was complete Lionel's affair with another woman surfaced through the media Lyon Ona's wife Brenda went through a nasty split that was the center of tabloids as a result they spoiled and cold as a way to keep her happy she stated in an interview with Mandy Fair magazine that as a young child she got everything she wanted and a little girl shouldn't have been allowed to have that much freedom.

7.Adam Levine

As one of the best performers in today's music industry it's no simple the maroon 5 singer is quite wealthy before he even became the band's lead singer he was already living a comfortable life scored - Fred Levine his father is the founder of M Frederick a successful retail chain ensured that the musician lived a pretty lavish life but in recent years the singer has built his own empire which includes becoming a winning coach on the voice creating unisex fragrances and designing his own clothing line for Wal-Mart with his net worth at 60 million and over 30 million albums sold worldwide I think Adams net worth is expected to surpass his dad's.

8. Rashida Jones

she's the daughter of the Mod Squad actress Peggy Lipton and her dad is media executive and record producer Quincy Jones with her parents combined estimated net worth of 313 million Rashida Jones wouldn't have to work a day in her life but as an actress author singer and producer she is busy making a name for herself and it doesn't stop there she's also a screenwriter and co-wrote the screenplay for Disney's Toy Story 4 with an estimated net worth of 10 million the starlet doesn't need to rely on her parents fortune to get her buy in fact her net worth might be more coming from a family of successful actors.

9. Paris Hilton

Anyone who knows Paris Hilton might argue that she's a spoiled heiress much due in part to her crazy and pointless antics documented on the reality show at the Simple Life it's no secret that her great-grandfather is Conrad Hilton founder of the Hilton Hotels and that her inheritance will be a hefty lump sum but back in 2007 her grandfather Baron stayed at his 2.3 billion fortune would go to housing for the homeless developing clean water in countries and assisting other goods while the remaining 3% would go to Paris according to the New York's Daily News she would have gotten a hundred million but is now looking only to get 5 million not to worry as the socialite has her own estimated net worth of 100 million due to her successful empire of clothing lines music singles and perfumes.

10.Edward Norton

The Fight Club actors maternal grandfather is James ruse who was an American real estate developer urban planner and the of the Roos company Norns grandfather has been widely recognized for developing the whole new city of Columbia in Maryland where Norn was born and raised as of 2003 the company has a 1.17 billion in sales and with over 3,000 employees the company is always expanding but thanks to nornes big movie earnings the actor has a net worth of 70 million he made all on his own nor has talked about his grandfather's contributions in public and spoke fondly of his actions.

11. Anderson Cooper

The famous CNN news anchor had no trouble breaking into the world of show business as Cooper is accustomed to a life of prominence coming from a long line of the prestigious Vanderbilt family his maternal great-great great-grandfather was prone alias Vanderbilt during his lifetime Cornelius was one of the richest Americans in history and built his wealth and shipping and railroads Anderson Cooper's mother is actress socialite and fashion designer Gloria Vanderbilt during the 1970s she was known for producing successful fashion lines household goods and fragrances even though her son would be well-off inheriting her Millions Cooper's media experience started while he was still in diapers he began his correspondence work in the early 1990s and worked for ABC News until he worked his way to become an anchor of his own show called Anderson Cooper 360.

12. Julia louis-dreyfus

she's best known for portraying Elaine on the hit comedy show Seinfeld but despite her privileged upbringing her dad Gerald Lewis Dreyfuss admitted he couldn't have predicted her success as an actress her father who had an estimated net worth of 3.6 billion managed louis-dreyfus energy services and described his daughter's childhood as fun and carefree it was thought that she would go on to manage her family's global merchant company with over 72 offices and annual gross sales that exceed over 120 billion the actress has it lucky but she made a name for herself and broke into Hollywood all on her own she studied theatre and improv before joining Saturday Night Live at 21 years old and eventually landing a lead role in Seinfeld in the 90s by 1997 it was reported that she was earning around $600,000 per episode aside from acting she is also a singer and producer and she's still paving her way to the top having a total of 22 nominations throughout her career.

Want to get more information then just watch this video

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