Justin bieber and fans at meet gre ets with bethany mota

Why People Are Obsessed With Teen YouTube Star Bethany Mota | Business Insider India

"I want to meet my fans too," says the year-old Oakley. . events boasting " meet and greets" and special "creativity" sessions with fans. "Zach's equally as astute as Bethany [Mota] and Hong Kong is a developing .. The seven most hated YouTube videos of all time, from PewDiePie to Justin Bieber to. Bethany Mota Latest News, Photos, and Videos woods because it's way different from other meet-and-greets,” Bethany recently shared about. Taylor Swift was cut to directly after Justin Bieber's performance on WATCH: Justin Bieber Cancels 'Purpose' Tour Meet and Greets, . INGLEWOOD, CALIFORNIA - APRIL Internet personality Bethany Mota attends Watch the video below to see how fans reacted to Gomez attending Bieber's show.

Whether starring as himself or his alter ego, "Nigahiga", he now has more than seven YouTube channels with two billion views and 15 million subscribers. Mota, 18, is another YouTube veteran who has become her own brand.

Justin Oakley Just Let Me Teach

At the age of 13, she started making videos in her bedroom as a way of expressing herself and what she likes in terms of clothes and make-up. The California teenager caught on, gaining six million followers. With the fans came the brands, which started sending her free products in the hope that she would mention them on her videos.

Today, Mota has her own clothing line and will appear in this autumn's edition of the US television series Dancing With the Stars. Other popular YouTubers also defy the traditional tastemaking conventions.

Jenna Mourey, aka Jenna Marbles, is the most subscribed woman on the channel. Mourey, 28, has one and a half billion video views largely due to her candid, uncensored and at times vulgar riffs on everyday modern life. Lilly Singh, aka year-old Superwoman, started making videos in Ontario, Canada, as a way of combatting racial and female stereotypes in the South Asian community.

And year-old Michigan native Oakley began uploading videos to update his friends and gradually became popular due to his outspoken views on lesbian and gay issues. We help fans and artists together to build truly interactive communities. Although reports vary, anecdotal conversations suggest YouTubers start receiving payments once they have more than 6, subscribers.

That does, however, come with its own pressures. With such a rabid fanbase though, live YouTube events seemed like a logical next step. But last year's Singapore event was a testing ground, which showed the event did have potential in Asia.

The fans felt like the YouTubers were their best friends, because they are. And among parents I received comments of 'thank you for making me a cool dad'. If parents get tickets and take their teenage kids, they are cool. Eager to find a new backer for his work, Johnson entered a partnership with independent network Blip, itself transitioning away from curating independent web series to promoting creators with bigger fan bases and cheaper productions.

How did Maker, a studio with less name recognition, beat indie heavyweight Johnson in attracting fans? Like Machinima before them, Maker built their network on signing up as many creators as possible, leveraging scale to increase their chances of finding a hit. At the time of the Disney acquisition, Maker Studios reported 5. By contrast, Johnson built his fan base by covering independent YouTube productions. Competition in the genre was stiff, but fans for offbeat YouTube videos were plenty.

Bethany Mota Photos, News, and Videos | Just Jared Jr. | Page 7

Both Johnson and SMOSH benefited from starting their channels on YouTube when the site had fewer professionally produced videos and did not invest in multichannel networks. Early on, YouTube incentivized original production, starting with the partner program. Originally invitation-only, the partner program allowed creators the option of putting ads on their videos for a majority cut of the display and video advertising revenue, split with YouTube.

It was not until that YouTube opened the partner program to all YouTube creators. Digital advertising rates were low, so partners needed to attract millions of views to make a living.

By the time anyone could join, partners had a small suite of advertising technologies with different ways to view ads pre-roll, post-roll, skippable, or banner with different price points for each one. Creators who worked assiduously to populate their channels with original programming could attract enough fan attention and generate six-figure incomes from their attention to ads.

Most creators made negligible amounts. Multichannel networks stepped in, offering creators better rates and more program development support.

Justin Bieber meeting fans

By the time YouTube recognized its problem and tried to fix it, it had already missed a big opportunity to invest in and grow production on its platform, and investors chased MCNs and their YouTuber clients. An estimated multichannel networks were offering marketing and support for tens of thousands of creators.

Networks like Big Frame attracted creators by understanding their challenges producing independently for a vast network like YouTube: Multichannel networks were best at serving top creators, whose large fan bases they could leverage to get meetings with major advertisers and Hollywood studios. The lengthy and complex process of negotiating deals in Hollywood could lead to big pay-offs but also corruption.

The Annoying Orange was a deceptively simple narrative series about an orange with CGI face who annoys the fruits and vegetables around him; conceptually it recalled Fred by Lucas Cruikshank, who ran effects on his voice to sound like an annoying preteen.

Fred ran on cable channel Nickelodeon for years as series and movies. The simple concept — one character, no serial plot — allowed Collective to license the Annoying Orange for commercials and other campaigns.

Even as his YouTube channel fell in the rankings, Boedigheimer appeared in the press as a new media marvel. Yet inBoedigheimer sued Collective for not paying any revenue from the licensing of The Annoying Orange; the suit alleged The Collective was in financial ruin and did not have the funds to pay him. A year after the Discovery deal, Revision3 purchased DeFranco Creative and installed him as a vice president.

DeFranco signed because Revision3 had given him access to brand integration and ad sales: Fullscreen beat out Revision3 by offering direct production financing: After joining Fullscreen, the Fine Brothers started producing the work of other creators, selling series to cable channels and developing a feature film. Usually reserved for top creators, production support is critical in an economy where independent producers must constantly create work to keep fan attention. The MCN supported creators directly and publicly through grant programs: At the time of sale Fullscreen had signed 50, creators with million subscribers contributing four billion views monthly.

What happened to multichannel networks once they sold to major investors and media conglomerates? In the months after selling itself to Disney inMaker Studios focused on owning its own platform in Maker.

  • CONTINUE TO BILLING/PAYMENT
  • Bethany Mota Doesn't Want to Be a TV Star & Here's Why
  • Taylor Swift throws some shade after Justin Bieber's iHeartRadio Music Awards performance

TV, growing its subscriber base through deals, servicing Disney and trimming staff. Co-founders and siblings Lisa and Ben Donovan left months after the deal was finalized and 10 percent of the staff lost their jobs.

To grow its gaming vertical Polaris, the network partnered with the third-most-popular gaming network on YouTube — it was already partnered with the top two, PewDiePie and Stampylongnose. Maker provided Disney with a necessary cost savings; right before announcing its purchase of Maker, Disney fired employees, or roughly one quarter, of its Interactive Division.

Affiliate channels bear responsibility for their intellectual property rights management and were subject to a copyright review process from YouTube that took from a few hours to a few days, during which, initially, YouTubers would lose out of ad revenue.

Small creators decried the expected delays in the release of their programs and the higher bar it set for getting boutique service from MCNs. Smaller creators feared this made it less likely MCNs would expand their upper tiers: It brings up the idea that starting a successful YouTube channel just became that much harder.

Gaming channels were hardest hit. The rise of new MCN competitors shows this feeling was widespread. In a year and a half it reported over 45 million daily views by signing up over 1, new channels every day.

Nevertheless independent forums on YTtalk, and essays by smaller creators, warn creators about Freedom! To make it easier for creators to find MCNs right for them, YouTube also introduced a certification program available only to partners as a way to establish quality standards for networks. After years of supporting false copyright claims, YouTube finally agreed to legally defend creators for fair use inbut it started by supporting just four channels.

Brands could buy Nielsen-rated audiences in bulk and with guarantees of minimum levels of viewership. InYouTube reported top advertisers increased their spend by 60 percent compared to The development team funded top creators and brokered deals with Hollywood studios.

Red released at least 25 originals in to around 1.

Categories: