Roblox introduces Creator Rewards, a new bonus program offering Robux to creators based on user engagement. #roblox #gaming #AI #creatoreconomy
Posted into ROBLOX NEWS & UPDATES @roblox-news-updates-LindseyGamble_
Roblox introduces Creator Rewards, a new bonus program offering Robux to creators based on user engagement. #roblox #gaming #AI #creatoreconomy
Posted into ROBLOX NEWS & UPDATES @roblox-news-updates-LindseyGamble_
https://www.europesays.com/2206163/ From Reels to Retail: India’s influencers turning as next startup founders #business #CloutPocketAces #CreatorEconomy #Entrepreneurship #IndiaInfluencersStartups #InfluencerBrands #InfluencerMarketingIndia #KushaKapilaUnderneat #NeetuBishtNetoseClothing #NitibhaKaulAltKBeauty #SocialMediaEntrepreneurs #SunnyChopraKsunch
https://www.europesays.com/2196114/ Insights, Authenticity, and the Expanding Creator Economy #AdopsBrandedContent #ADWEEKHouse #CannesLions #CreatorEconomy #Data #Economy #Events #Influencers&Creators
https://www.europesays.com/2195211/ The Rise Of Six-Figure Faceless AI Video Creators #AIEntrepreneurs #AiTools #AIVideo #AIGeneratedVideos #Automation #business #CreatorEconomy #Entrepreneurship #FacelessAIVideo #FacelessAIVideoCreators #GenerativeAI
https://www.europesays.com/2169338/ Adobe Doubles Cannes Spend to Court AI-First Creators #AI #AINews #ArtificialIntelligence #CannesLions #CreativeAdvertising #CreativeDisruption #CreatorEconomy #exclusive #Influencers&Creators #MarTech #Premium #technology
Thanks to the open web, it’s more viable than ever for creators to take back ownership and control of their livelihoods. @molly0xfff joined Flipboard CEO @mike at SXSW 2025 to talk about building an ethical, creator-first internet. That fireside chat is now available as a Dot Social episode. Listen in full!
https://about.flipboard.com/fediverse/molly-white-sxsw-2025/
https://www.europesays.com/2080756/ Roblox brings real-world merch to its burgeoning creator economy #CreatorEconomy #ecommerce #Economy #fenty #HomepageFeature #Roblox
How to spot a scam sponsorship request! #creator #creatoreconomy https://www.youtube.com/watch?v=r9UmyugInhU
€50,000 FOR AN INVISIBLE SET
In the Friday Formula 01x02 episode, you can finally glimpse what I’ve been building for years. That set is my greatest pride. A meticulous, ambitious production, designed down to the last detail. A childhood dream made real. Works of art. A central screen where the host uses visuals to support their points. An aquarium. Porcelain dogs. Mugs. A Michael Jackson clock carved from a vinyl record. Friday Formula 01x02 was supposed to be a hundred times better—with a finished set, more competent and motivated hosts, and better production. With more resources. But to pull that off, under the conditions I faced, is already a victory. A testament to determination. To willpower. With no money. No funding. No audience.
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THE SET IS TANGIBLE
What few people realize is that building a TV set isn’t like decorating a bedroom. It’s about:
- Ordering hand-engraved vinyls from Ukraine
- Importing Bazalto chairs from Poland
- A 3D Ayrton Senna frame signed by Retro Game Craft
- A custom neon light made in Singapore
Every item costs:
- In product price
- In shipping
- In taxes
- In customs
- In stress (lost parcels, defective goods)
And there were mishaps: furniture delivered broken, a brand-new fridge that didn’t work (last one in stock), having to call in a repairman. Thankfully, the store refunded me with the invoice. But the mental toll is real. The logistics are crushing.
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A HALF-COMPLETED INVESTMENT
Over three years, I spent €50,000. For a project that’s only 50% finished. Progressing slowly. Through patience, effort, rational micro-decisions, and a few gambles. And yet, that set has never been seen. Or almost never. Because YouTube buried my videos—like it buries thousands of others.
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THE DREAM OF AN AUTONOMOUS WEBTV
This project goes beyond YouTube. It always aimed at an independent website, a self-hosted media hub, a 24/7 WebTV. But to make that viable, we needed an audience. The idea was simple: finish the set, then start broadcasting publicly. In the meantime, YouTube would be our window. Our springboard. But YouTube said no. Not with an official rejection—but through systematic invisibility. Like a Tinder match that gets swiped left into oblivion.
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TOTAL DETACHMENT
YouTube’s detachment is both structural and emotional. If the platform had even the slightest symbolic involvement in video production, it would have a reason to showcase them. But YouTube contributes nothing. It respects nothing. And it can destroy an entire project—effortlessly. Without remorse. Without loss.
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THE CINEMA PARABLE
Imagine walking into a movie theater, seeing the producer’s logo… and walking out. Then posting a review about the logo. And having that review promoted.
That’s YouTube.
People click the three dots—“Not interested in this video”—after only seeing the thumbnail. Not the video. Not even a single second of it. And YouTube pulls your work off the shelves. And it’s not just what you see: this type of negative feedback has a massive impact on the entire channel, cutting its visibility across the platform.
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A COLLECTIVE INJUSTICE
This article is long. Maybe too long. But I need to go into detail so that people understand the real value of our work. This isn’t about asking for €0.03 per view. This is about repairing a sabotage. For Kévin, Dinoh, José. For the €50,000 spent on an unfinished set. For the €10,000 in TV gear hijacked for YouTube’s benefit. For the ads played on our videos, from which YouTube earns a profit, without retributing the producer — despite the legal obligation tied to authorship.
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THE TRUE COST OF AN INDEPENDENT MEDIA PROJECT
Let’s assume a minimum wage in France of €1,250/month for 18 months:
1,250 × 18 = €22,500. And even that doesn’t cover:
- The other collaborators
- Operating costs
- Business expenses
- The value of my skills
I’m the producer, director, host, author, network tech—and more. And I get paid zero.
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THE FINAL HUMILIATION
One day, I fixed a woman’s computer.
– The hard drive cost me €75
– My labor was worth €75
– A data recovery lab would’ve charged €3,000 to retrieve the files.
She handed me a €20 bill. Not even enough to cover costs. YouTube is that woman. It decides what your work is worth: a few coins, a handful of cents.
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HOUSE STATION LIVE: A COLLECTIVE SABOTAGED
Of course, I edited and hosted most of the videos myself. But House Station Live was never meant to be the project of a lone individual. It was a collective—a platform to showcase young talent, not yet another vlog centered on my own persona. This YouTube channel was supposed to serve as the launch campaign for an ambitious webTV, broadcasting 24/7 on our own servers. An alternative to traditional media, with our rules, our voices, our style. But very quickly, I had to put House Station Live on hold. YouTube was too demanding. And paradoxically, it was the only way not to end up in debt.
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JOSÉ, DINOH, KÉVIN
I worked with several presenters:
- José, charismatic but without his own following,
- Dinoh, competent but limited by lack of visibility,
- And Kévin, a freelance editor I hired for some episodes.
I spent a tremendous amount of time organizing castings, looking for hosts, trying to convince people. But how do you persuade someone to represent a channel that gets 20 views—even with decent pay? Even "generous" payments weren’t enough to keep people motivated. Eventually, candidates dropped out.
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THE TRAP OF FULL-TIME COMMITMENT
I no longer had the means to produce both House Station Live and YouTube content in parallel. So I bet everything on the platform. YouTube consumed me. Managing production, editing, recruitment, technical direction, scheduling, testing formats, durations, themes, hosts—I tried it all:
- Videos from 1 to 50 minutes,
- On all kinds of topics: video games, Formula 1, news, reviews, let’s plays.
But convincing a freelancer to commit long-term at a low rate is a nightmare. I couldn’t afford to pay for many hours or high rates. My channel brought in zero revenue. I had nothing to reinvest.
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A TEAM SACRIFICED
And yet, I tried. House Station Live wasn’t just a personal project. It was a collective hope. A launchpad. Momentum. We wanted to build an audience ahead of time, so that once the set was ready, we could immediately produce, publish, and exist. But in reality, YouTube swiped us away with a single gesture—like a Tinder match rejected with a left swipe. And it cost them nothing. No time. No money. No emotional weight.
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A CHANNEL, A GRINDER
YouTube contributes nothing to the creation of videos. It has no personal interest in whether your content finds its audience. The algorithm sorts, tests, eliminates. It's math-driven, disembodied, dehumanized. And the creator falls alone. On TV, you don’t air a million-euro show at 4 a.m. There’s programming, a respect for what’s been produced. On YouTube, no distinction: whether your video cost €10,000 or €0, it’s treated the same.
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A FRUSTRATED AUDIENCE, A BROKEN CREATOR
13-year-old trolls watch your content for 5 seconds, dislike your face, and move on. The algorithm knows this—and exploits it. It drives hatred and constant frustration, so you keep trying harder. For nothing. And if you dare believe your freshness, creativity, and sincerity will resonate... you crash into a machine that despises who you are.
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CREATING ON YOUTUBE MEANS PAYING TO WORK
YouTube is like Uber. Uber asks you to own, in your garage, a black sedan with less than 100,000 km on it—one you’re not using—and claims you can start making money from it. “It doesn’t cost you anything,” Uber says, since the car is just sitting there anyway. But in reality, it’s the most financially vulnerable people who see it as an opportunity. They take out a loan to buy a car. And when that car hits 100,000 km and the loan isn’t paid off, they get a second one—and now they’re stuck with two loans. Uber “earns” you €5/hour, but the cost of maintaining your setup is €7.50/hour. The more you work, the more your tool degrades. You earn 25% more, but spend 25% more. The vehicle is repurposed for an economic model that only benefits Uber.
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YOUTUBE IS NO DIFFERENT
When you become a YouTuber, they make you believe that “anyone can stream with a smartphone.” That all you need is an idea, a bit of courage, and some basic gear. That you can compete with MrBeast—who spends a million per video—on a shoestring budget. That’s a lie.
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THE REAL COST OF A SETUP
I spent five years, from 2018 to 2023, saving up to buy a €5,000 PC solely for production. Because streaming isn’t just “playing a game.” Your PC becomes a 4K broadcasting server. You need two graphics cards—or even two separate machines:
- One to run the software or the game
- The other to encode, stream, and record
You also need:
- A second monitor (for video return and replay)
- A replay buffer (to capture instant replays)
- A Stream Deck for seamless transitions
- A Wave XLR for professional audio quality
- Audio interfaces, mixers, USB cameras, XLR microphones
All these high-end peripherals constantly tax your system. You need two USB hubs capable of handling 15 devices at once with no signal loss. A single weak link can ruin everything. And that’s not all. To stream a Nintendo Switch, you need a capture card—and you can’t rely on your streaming software’s preview because of input lag. You have to play directly on the other screen already in place.
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ONGOING TECHNICAL LEARNING
Streaming requires broad technical expertise:
- Lighting, audio, capture devices, networking
- Compression, codecs, editing, formatting
- Live direction, visual/audio transitions, real-time coordination
And you’re doing all this with zero support from YouTube.
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STORAGE AND ENERGY COSTS
Your PC isn’t enough anymore. You’ll need a NAS—a network-attached storage system—cheaper than the cloud in the long run, but which demands:
- Two 20 TB drives (mirrored) → 40 TB
- A dedicated server, which adds another €1,000
It’s become a mini television studio. Which brings with it:
- Planned obsolescence
- Frequent breakdowns
- Hardware wear and tear
- Electricity costs of a 1,000-watt PC plus a 24/7 server
Altogether, the setup costs more than a car.
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AND YOUTUBE PAYS NOTHING
And yet, it’s YouTube that cashes in. It runs ads on your videos—even if you’re not monetized. It hijacks your gear, your energy, your skills. And if your content doesn’t “perform,” it simply ignores you. A PC, cameras, capture cards, hubs, microphones, lights—tens of thousands of euros invested just to exist. And the platform invests nothing in return. No visibility. No value sharing. Not even a word of encouragement.
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Geschlechtsspezifisches Lohngefälle bei Influencer-Kollaborationen bleibt branchenweites Problem
Ein aktueller Bericht der Plattform Collabstr beleuchtet erneut die strukturelle Ungleichheit im Bereich der bezahlten Influencer-Kollaborationen.
https://xboxdev.com/geschlechtsspezifisches-lohngefaelle-bei-influencer-kollaborationen-bleibt-branchenweites-problem/
#News #Collabstr #CreatorEconomy #Gaming #GenderPayGap #InfluencerMarketing #Instagram #TikTok #Twitch #UGC #Youtube
CONTENT POLICY (MY TERMS):
By engaging, you agree to these conditions.
PROHIBITED:
- AI training (ChatGPT, etc.) on my work.
- Reposting/adapting without written consent.
- Misusing "fair use" to bypass my rights.
ENFORCEABLE ACTIONS (BY ME):
- Demand removal + compensation for unauthorized use (RM100/post).
- DMCA takedowns + Malaysian small claims court (Copyright Act 1987).
- Permanent ban + platform reporting (e.g., Vivaldi Social).
MALAYSIAN LAW APPLIES:
- Copyright Act 1987: Penalizes plagiarism/distribution (no retroactive fees).
- PDPA 2010: If personal data is misused.
SUPPORT CREATORS:
- Tip: https://ko-fi.com/kaebecomyn
- Share with credit (no edits/decontextualizing).
SHARING RULES:
- Allowed: Direct sharing (credit + link).
- Banned: AI scraping, paywalling, or distortion.
NOTE:
- I enforce via takedowns, invoices, and court where possible.
- No retroactive fees (Malaysian law doesn’t support this).
TL;DR: Respect my work; support or scroll. Support: https://ko-fi.com/kaebecomyn |
#PayTheCreator
"A #BiaGranja, que entende de #creatoreconomy como ninguém, criou um GPT com as 15 principais palestras sobre creators que rolaram no #SXSW (o maior evento de inovação e criatividade do mundo, que aconteceu em Austin, no Texas, no início do mês). E adivinha? O tema do #banimento de #adolescentes estava lá, com todas as conclusões do impacto que isso poderá ter sobre o futuro dos #negóciosnasredes."
#economiadigital
https://economia.uol.com.br/colunas/josette-goulart/2025/03/28/adolescencia-como-proibir-uso-de-redes-muda-o-jogo-da-creator-economy.htm
@mike's terrific fireside chat with @molly0xfff on digital sovereignty, aka technological self-determination (taking control of your digital life and data), is up on the SXSW site. Don’t sleep on this talk, especially if you’re a writer or other kind of creator. With plenty of high-quality Q&A too, one person in the audience said it was “worth the badge.”
https://schedule.sxsw.com/2025/events/PP147154
(We’re working on getting all the panels and talks from the #FediverseHouse edited and posted. We’ll be back when they’re up.)
Ever find yourself scrolling through an increasing amount of melancholy posts with videos of people crying and talking about their latest misfortune? Apparently, there's a word for that and it's called "Sadbait." This trend has become a go-to for some online creators, and audiences and algorithms can't get enough.
#InstaMillionaire
"The Indian storytelling app gives its audience an unending stream of audio stories about lucky individuals who become rich. It might as well be an allegory for its own #creatoreconomy.
The writers of Pocket FM find themselves in a catch-22: the platform’s algorithm will only promote their novel if it’s already popular among listeners.
#PocketFM isn’t the first platform with a tyrannical algorithm. Companies like YouTube and TikTok work similarly, too."
https://www.theverge.com/24317729/pocket-fm-audio-stories-creators-insta-millionaire
#DigitalCreator:"…the bigger story is that millions of dedicated creators across the globe are using #socialmedia to follow their passions and work on ideas, activities, and causes that give them a sense of purpose.
39 mi in the US
137 mi in India
47 mi in Indonesia
40 mi in Brazil
18 mi in Mexico
14 mi in Nigeria
8 mi in Saudi Arabia
They generate a cumulative economic impact of $368 billion, comparable to Hong Kong's GDP."
#CreatorEconomy
https://www.fastcompany.com/91240693/in-defense-of-being-extremely-online-the-creator-economy-by-the-numbers
Congratulations to @taylorlorenz on a great run with the @washingtonpost! She leaves to start her own publication, "User Mag," focusing on tech from the users' POV.
Tumblr is removing tipping, citing low usage and a need to prioritize other feature development higher.
https://changes.tumblr.com/post/749295377342251008/tipping-is-going-away-on-june-1-2024