‘I pms at these,’ is not perhaps a statement that will be forever enshrined in the annals of great quotes. The person who said it went by the name of shazza, whoever shazza may be. But shazza is nevertheless a notable figure to me, for his/her comment was the last to ever grace a video on my YouTube channel, the final person provoked into saying something after enjoying one of my offerings on a platform that had twelve long years of providing satirical and/or bawdy entertainment for the masses who were incapable of raising even a moderate titter at the woeful excuse for comedy that television serves-up these days. Unfortunately, the history that shazza made with this brief comment on the most recent instalment of ‘Buggernation Street’ is a history that has been erased from the books, for Sillycunt Valley’s very own Ministry of Truth has excised yours truly from the platform as of late Wednesday evening. I’m not playing the victim here, btw; I just figured you might find this story interesting.
Long-term readers of the Winegum or viewers of my channel might recall I walked away from YT in 2019 after a dispiriting couple of years in which all my videos were demonetised as several others were blocked and banned; I stopped uploading new material, but left what was still on there for those that routinely watched the same favourite videos over and over again. As far back as 2016 I was noticing pernicious changes creeping into YT as the corporate world belatedly became aware of the platform’s potential to sell ‘product’ and began issuing copyright strikes left right and centre at the independent creators who’d made YT what it was in the first place; I even wrote an early post about it, one that still attracts views, and this was penned when I used to receive an admittedly small income from YT – not much more than around £150 a year. Then, overnight, all the videos I received that income from were demonetised. The new regime was making its insidious presence felt.
Rick Beato, an American record producer with an informative and engaging YT channel, recently issued a video in which he berated Don Henley from The Eagles for whining over ‘loss of earnings’ due to fans sharing snippets of Eagles tracks on YT. Beato correctly pointed out the absolute pittance of royalties Henley could claim should anyone dare insert fifteen seconds of ‘Hotel California’ into a video would be something to put Spotify to shame – a handful of cents at the most. He went on to underline the ludicrousness of this farcical copyright circus by playing a few bars of the piano intro to ‘Bohemian Rhapsody’ in the wrong key ala Les Dawson simply because he couldn’t even play the proper bloody melody himself without being slapped by a strike, let alone using the actual Queen recording on the video. This has been one of the moves that have reduced YT to merely another corporate tool, yet so dominant is the platform when it comes to its specific market that it continues to put other video platforms in the permanent shade. It remains the go-to medium, just as the BBC used to be whenever a major news story broke.
In a way, this is the double-edged sword of YT – as a creator, one is hampered and restricted by the rules and regulations that require expert navigation in order to avoid a copyright strike; yet, at the same time, one is guaranteed a huge audience that no other online video platform can compete with. Despite my reservations, this was the main reason I returned to YT after a two-year absence in 2021; I simply couldn’t ignore the massive upsurge of views and tsunami of new subscribers that appeared to have been a side-effect of lockdown. It would’ve been foolish to spurn this unexpected and enthusiastic fan-base eager for new videos, so I gave them what they wanted by reviving what became my signature series, ‘Buggernation Street’. No new episodes of this Derek & Clive-like take on the early 70s incarnation of a rather well-known TV soap opera had been produced for six years, but once I was back on the grubby cobbles it was as though I’d never been away.
Of course, the filth for which ‘Buggernation’ is infamous is all in the mind – it’s down to the often-horrific imagery that materialises in the viewer’s head as a consequence of the dialogue I insert into the characters’ mouths. There’s no on-screen nudity or sex of any kind in a single episode of the 42 that ended up being produced; it’s merely suggested in the most explicit manner possible – and it makes people laugh at the same time; indeed, how could they not laugh at the thought of Maggie Clegg treating Alf Roberts to a spot of water-sports or poor old Stan Ogden being forced to bend over as Hilda shoves a police truncheon where the sun don’t shine? It’s patently ridiculous and that’s what makes it work as comedy. The simple suggestion of something depraved going on behind the net curtains is enough to provoke the viewer’s imagination, and the viewer doesn’t need to see on screen what’s being described. Putting any of that on screen would lead to an instant ban and it would be rightly labelled pornography – especially as the YT of today has clambered up on top of the moral high-horse and laughably appears to regard itself as a barometer of family-friendly decency.
When YT took it upon itself to remove my entire channel without warning – rather than ban a handful of videos I could have easily uploaded to another outlet like Vimeo – their reasons for doing so suggested the images placed in their heads by ‘Buggernation Street’ were too much for their fragile sensibilities; they then, like some satanic abuse fantasist, appeared to believe they had actually seen these images in my videos. ‘This account has been terminated due to multiple or severe violations of YouTube’s policy on nudity or sexual content.’ There was no nudity, and any sexual content was of a purely verbal nature – end of. I pointed this out when I appealed, but their response was ‘YouTube is not the place for nudity, pornography or other sexually provocative content’. Yeah, that’s why I didn’t upload any. Just in case I mistook YT for CBeebies, I always ticked the box stating my videos were for adults only, YT’s equivalent of the old-fashioned X certificate. But, of course, their decision had f**k-all to do with nudity or pornography.
Ever since my channel began attracting viewing figures that elevated it above the best-kept-secret cult it had been for a decade, it was undeniably brought to the attention of the Identity Politics Gestapo that run all media today. And what probably signed my YT death warrant was a video that mocked all they hold dear, a spoof BBC1 trailer for ‘Wokeday Evening’. The glaring difference between YT and other video platforms was never better highlighted by the viral success of this particular video. It had originally been published on Vimeo a couple of years ago and attracted virtually no attention at all; remixed and expanded, I decided to temporarily shelve my ‘Buggernation’-only principles when it came to YT uploads and enabled ‘Wokeday Evening’ to be seen by the widest possible audience. Views shot through the roof as it was tweeted by numerous media personalities not exactly beloved by the Woke mafia, and I would imagine a sizeable number of complaints were registered with the YT upholders of online standards, double and otherwise.
Not only can I not start another channel on YT, but I’m also prevented from subscribing to anyone else now; I can’t even comment on or ‘like’ the efforts of others. In YT terms, I am officially a non-person, of whom all traces have been wiped. The thought of adopting a new identity and sneaking back on there is not one I relish, for nothing will have changed; I’d only be confronted by the same bullshit that provoked my two-year exodus in 2019. YT must have missed the money they made from cramming ads into my videos during my absence, but they’ve made a hell of a lot more from me over the last twelve months. Well, f**k ’em. They ain’t making any more. And, if nothing else, I now know from personal experience that cancel culture is not some right-wing fantasy; it’s for real, alright.
© The Editor