At one time (like most), I would have favourite TV shows – programmes that aired at a set time on a set day of the week that I would look forward to. The addition of the VCR to the electronic household furniture partially shattered the appointment-to-view aspect and enabled such shows to be recorded and watched at the viewer’s leisure, and as many times as the viewer liked; this is why numerous TV series (and movies) recorded back then can often be recited word-for-word even now, countless years later. In more recent times, the gradual diminishing of television’s appeal in the face of online challenges has led to the streaming revolution, whereby a new series is ‘released’ and then receives a binge-watch that was previously the province of the DVD box-set. I personally don’t subscribe to Netflix or any other channel of that ilk forever unleashing these shows on a seemingly daily basis, finding much more entertainment of an original – and admittedly niche – nature on YouTube. Regardless of my own battles with that corporate monolith – and my expulsion as a creator from it – I nevertheless still enjoy more of its output than that which emerges from traditional (and in my opinion, redundant) broadcast mediums.
The Wild West element of the internet that existed in its early days was characteristic of a new platform that can now be seen as a necessary rites-of-passage moment that all media goes through before it becomes mainstream; both the cinema and the music business experienced similarly exhilarating teething troubles prior to the potential of their long-term prospects attracting money men seeking to smooth out rough edges in order to make them profitable investments, and the internet’s most popular windows are no different. That said, in the past five or six years there has been an undoubted advancement in the YT channel as a positive alternative to the tired and jaded formats TV offers, giving people with something novel to say a way of saying it without having to jump through the hoops that television imposes upon its future saviours via focus groups, committees and the insidious ‘diversity and inclusion’ agenda that strangles all creativity on the altar of ideology. The days when the assembled writers and performers comprising the nascent Monty Python team were offered 13 episodes and advised to go away and get on with it are long gone in television’s corridors of power.
Just as Lucille Ball was perhaps the first international superstar whose rise to fame bypassed the movies and instead owed everything to television, YouTube has now made stars of characters who at one time would have required a TV show to establish themselves; they have shown that the antiquated goggle-box is no longer required to make their mark or attract a sizeable audience to whom they are a household name; and the antiquated goggle-box only has itself to blame. Through monetising – as long as their output avoids poking fun at certain sacred cows – these YT stars can produce videos that provide either an entire living or at least a handy financial sideline; and one reason is due to the fact that the best of them today have a professional sheen that makes their efforts the technical equal of anything to be found on TV. Faced with no option but to operate on a shoestring budget, they nevertheless produce channels of a high standard because much of the equipment needed is now available within their price range – and the majority of them set their videos on location to minimise the expense and expertise required if seeking to emulate the TV studio and its notoriously difficult reliance on sets, lighting and sound recording.
Ironically, as TV desperately chases the streaming dollar and dispenses with traditional methods of viewing, most of the best YT channels have resurrected the old appointment-to-view system in that they tend to air their new output on set days; for some reason the most boring day of the week, i.e. Sunday, seems to be when a fair few of them issue something new. For me, Sunday sees four or five of the channels I follow religiously all premiere fresh videos throughout the day, giving Sundays the kiss of life in that they finally have something to look forward to. The ‘niche interests’ some of these channels specialise in doesn’t necessarily mean their presenters/creators don’t make them addictive viewing; if anything, many have learnt a thing or two from the TV hosts of old and have the kind of endearing personalities on camera to make their specialist subject appealing to the casual viewer stumbling upon them in the ‘related’ or ‘recommended’ videos sidebar. I myself know little about cars, never having owned one and being guilty of four failed driving tests in the 80s, yet a couple of channels I’ve recently become hooked on are clearly the product of those in love with the internal combustion engine.
Previously referenced on here, the YT channel called ‘Auto Shenanigans’ is an unashamed car nerd’s love letter to all things automobile-related, particularly the road network of the UK. There are several playlists to be found on there, including specific series dedicated to the service station, abandoned roads, derelict racetracks, and the ‘Secrets of the Motorway’. The host has an engaging, self-deprecating sense of humour and is all-too aware of how boring his obsession with the seemingly every day and mundane might appear to the layman; yet, he nonetheless manages to deliver the goods in concise and compact little videos rarely exceeding five minutes in duration and often boasting laugh-out-loud asides to camera that elevate them above the subject matter and give them a far wider appeal. Another recent acquisition to my YT listings is a channel called ‘idriveaclassic’, hosted by a young lady with a penchant for kitsch 60s and 70s outfits, and who drives a different vintage motor each video; she’s evidently a regular on the circuit showing off lovingly-restored versions of these vehicles and has access to some of the most exquisitely odd – and most eccentric – cars produced over the past century, particularly the three-wheelers we rarely see on the roads these days.
Another subject that has a habit of generating passionate and borderline-autistic behaviour amongst (primarily) middle-aged men is music, specifically the golden age of rock & pop from the 60s and 70s; naturally, there are endless channels dedicated to this topic, though beyond the archetypal balding, bearded, black T-shirt brigade in their bedrooms there are a few slicker channels that dissect the output of this creatively-abundant period with insight and humour. Perhaps the two best of this bunch are ‘Pop Goes the 60s’ – hosted by a long-haired, bespectacled American called Matt, who routinely produces superb in-depth profiles of key 60s bands (such as his recent history of The Beach Boys) – and ‘Parlogram’, which is heavily Beatles-centric and hosted by an ex-pat Brit with a forensic knowledge of the era and its physical formats. ‘Yesterday’s Papers’ covers the same timeframe by focusing on the contemporary music press and revisiting fascinating articles and features from the time, whereas the compellingly obscure ‘Ringway Manchester’ shines a light on some of the more esoteric outlets that could once be located on the shortwave dial such as the infamous Numbers Stations. The viewing figures these channels display clearly indicate there is an audience for the subjects that fall under their radar, subjects that television in particular is not remotely catering for.
Over the past two or three decades, the rapid growth of multiple TV channels has invariably led to a ghettoisation of genres that terrestrial broadcasters would have once been forced to include in their schedules, leaving the likes of BBC1, BBC2, ITV and Channel 4 bereft of Arts or niche interests, thus not only leaving the field clear for minority channels but YT channels too. Arguably, it is the latter – with its democratisation of programme-making – that has best capitalised on this state of affairs; and as a viewer, I know where my loyalties now lay.
© The Editor
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