As with the two Peters, Hitchens and Oborne, Paul Joseph Watson is not a media figure whose every pronouncement provokes a nod of the head, yet as with those aforementioned grumpy grandees of Fleet Street, he often nails the ludicrousness of the world we live in simply by daring to challenge it. An unapologetic ambassador of the so-called ‘Alt Right’, Watson is the face of the UK branch of ‘Info Wars’, the US conspiracy theorist site fronted by the ranting human foghorn Alex Jones. Watson doesn’t adopt the breathless bluster of his American sponsor; adopting that approach for a British audience would reduce him to the level of Jeremy Clarkson. Instead, he sometimes comes across as Owen Jones through the looking-glass, the flipside mirror image of the pocket Northern Socialist.
Watson has posted a series of regular videos on YouTube over the past couple of years, both highlighting and ridiculing the increasingly fatuous fanaticism of the extreme left’s PC storm-troopers, especially on the other side of the Atlantic; as a result, he’s made as many enemies as fans, and while one may not always concur with his conclusions, there’s no doubt he’s highlighted a lot of things that needed highlighting. Until now, that is.
Watson has temporarily drawn the blinds on his YouTube window due to the fact that he can no longer make a living from it thanks to a new Star Chamber of YouTube judges, installed by parent company Google to police the medium and crack down on any questioning of the consensus. Many may be unaware that ‘monetising’ one’s uploads to YT can bring in a little revenue depending on the number of views the videos receive; Watson’s videos received astronomical views and no doubt brought in a nice little profit on a monthly basis. However, the crackdown on anyone saying anything that could be perceived as ‘offensive’ means all of Watson’s videos have now been deemed ‘not advertiser-friendly’, thus meaning he can’t make a penny from them anymore.
I’ve written on more than one occasion in the past of the transformation of YouTube in recent years. What was initially an invaluable platform for, amongst others, lovers of archive footage unavailable on DVD and rarely screened on TV – often uploaded from decrepit off-air VHS recordings or sourced from actual television vaults by insiders – has slowly seen passionate promoters of the rare and obscure edged to one side by The Man and his corporate bullyboys. Copyright laws have been tightened to the point whereby every piece of film not actually shot on one’s own camera is subjected to a ‘third party infringement’ order, regardless of how minimal its use may be. I once had a video stamped with copyright claims simply because I used the BBC4 ident for a handful of seconds as the intro to it.
This OTT enforcement of copyright has made navigating such rules something of an art-form for veteran uploaders, but perhaps responding to criticisms of alleged lax attitudes to ‘hate’ videos, YouTube has now embarked upon a censorious crusade in which any video that doesn’t promote the Coca-Cola ideal of a harmonious multicultural/LGBT/Islam-with-a-smiley-face society is penalised; anyone who takes the piss out of or merely questions this bland make-believe Utopia is denied an income as a consequence. People regularly air their grievances with the BBC as pandering to a left-leaning notion of ‘Right-On’ politics – often justified, viz. the hardly unbiased four-person panel of prominent Muslims discussing the latest Pakistani grooming network on ‘Newsnight’ this week; but YouTube has suddenly usurped Auntie Beeb as an intolerant home for one view and one view only.
Infuriatingly vacuous American airheads who call themselves ‘vloggers’ – usually squeaky-voiced teenage Disney Princess types who exude the air of hyperactive six-year-olds albeit bereft of infantile charm – make millions from their vapid videos that appeal to a generation whose heads have already been ground to slurry by being force-fed media sedatives; and these are the future of YouTube, not anybody with anything to say. My own personal speciality area tends to be satire, but satire is now as welcome on YouTube as a copy of Charlie Hebdo would be in a Parisian mosque.
A couple of days ago, the new YouTube constabulary provided me with a long list of my videos their panel has decided I can no longer make any money from. To be honest, I don’t make much, anyway – around £120 a year; I have a loyal following who will view my output whatever I upload and I also pick up casual viewers en route, but I’m a cult presence and probably always will be. I accept that some of my output is coarse in the Derek & Clive tradition, but YT already had an age-restriction system in place where rude words were concerned, so anybody stumbling upon them knew what to expect beforehand.
None of the previous rules in place to protect a ‘family audience’ were apparently sufficient, however, for the strict new boundaries have narrowed the range of opinions on offer even further. Many of my own videos parody the politically-incorrect 1970s and therefore need to be viewed with that in mind, yet the humourless martinets Google has recruited to clean-up YouTube’s lingering vestiges of its original freewheeling spirit can’t even tolerate that. One particular video of mine was a spoof 70s BBC trailer previewing a night of programmes marking ‘National Smoking Day’; it’s so obviously a piss-take, yet it’s been labelled ‘not advertiser friendly’. Despite infringing no copyright, I can’t earn anything from it anymore.
I attach another innocuous video in this style to the post and ask you to watch it in order that you can decide whether or not it’s remotely ‘offensive’. The video in question being ‘banned’ as a source of income was something I challenged; when I did so, I was informed the team won’t review the status of a video subjected to this treatment unless it receives over a thousand views in 28 days; some of my videos can take months to reach that amount of views, so I haven’t got a cat in hell’s chance of reversing the judgement. It’s a rip-off and it’s an outrage. But it’s 2017. Sign up to the consensus or be cast out into the online free-speech wilderness.
© The Editor