The Digital Disgrace: This Generation’s Creators & Entertainers

I’m awfully glad I didn’t have Instagram when I was 12. Quite frankly, it terrifies the bejabbers out of me to think of wide-eyed impressionable Holly opening the Insta-dora box (except there is no hope left. No hope at all.). The Internet is built on content consumption, and equally wields services where even the most inept find a way to contribute by adhering to the confines of the tool. “Human expression!”, every new social media platform initially preaches with good intentions. Tumblr, the microblog lowering barriers to scoring coffee-table deals. Twitter, the ability to easily participate in online discussions. Snapchat, the authentic look into personal lives in real-time via visual storytelling. And Instagram, sharing your beautiful artwork almost like an online portfolio. I appreciate social media immensely for bringing endless positive changes, and providing a medium to keep the world interlinked – I most definitely believe it played an essential role in rescuing the 12 young Thai boys & their football coach after 9 days in the caves, where over a thousand people flew from all over to lend a helping hand. For this, I really am forever grateful. However, this post is going to focus more on the dismal side of social media; how the original premises have sadly veered into our currently flawed state of user-generated content. For this, I will be delving into the unfortunate new generation of Instagram comedy as a true testament.

The Instagram explore page is now typically composed of the following: 30% people working out, 40% disastrous memes (“Tag 2 friends in the comments below who also like breathing”), and 30% useless lifehacks. Have a scroll down to look under the “Comedians” section, and you’ll find it is a terribly liberal use of that word. Train-wreck after train-wreck, it’s basically 6.5 seconds strewn across 60 seconds. The premise of Vine was certainly interesting, filling the void with a content medium in accordance with our current online attention spans. Constraint can create marvellous art, but the migration of tanking Vine stars onto YouTube & Instagram only serves to prolong what comedy they couldn’t even make in 6.5 seconds. I know, I know; sweeping generalization. However, I feel entitled to make such a bold statement considering its reckless abundance breeding reckless behaviour in young kids.

I’m no comedian, but isn’t comedy about the delivery and the punchline? Instagram comedy does neither. And if you thought the videos were outrageous, the comments are fantastically worse. Aside the dismayingly profuse use of the laughing-until-crying emoji comments, the complaints are of course about the video production, sound quality, and unwanted censoring of the otherwise R-rated clip – just disregard all the big glaring offences like rape, sexual assault and infidelity, because this is a backward mental sphere we’re in, mind you.

Have we regressed? It’s difficult to think we haven’t, when the steps taken forward to eradicate such pertinent issues have rapidly back-pedalled to zero under the guise of “comedy”. Objectification is an issue being battled as is, and of course Instagram comedians have subscribed to this belief by portraying women in their videos primarily for the thumbnail, because views. Also, just like how the Kylie Jenner lip challenge was so 2015, and fidget spinners are so 2017, isn’t cheating just so 2018? Because you better jump on that unfaithfulness bandwagon so rampant in Instagram comedy – haven’t you realized it’s a staple phenomenon to public relatability? What all these videos have in common, as Daz Game puts, is the predictability.

The worst part must be the amount of production value that goes into each less-than-average skit. A legitimate team of writers and producers, sitting behind the camera crew, elbows on knees, brainstorming – Hey, you know what’s hilarious? Sexual assault! Comedy gold right there!”

Cody Ko so aptly calls this “pepper-spray comedy”there is a time and place for everything, but there is never the time nor place when rape, cheating, or violence is the punchline. Nonetheless, the thrift-shop cloak of humour thrown over these issues draws in millions of views, views that pay their rent, buys their fancy cars, and similarly disguises their greed with altruism by “£10,000 donations to random strangers”. Besides this dark branch of Instagram comedy, Danny Gonzalez also titles another highly popular subset of videos “ab comedy”, which essentially translates to “I’m not funny, but at least I’m hot” (very loosely used term here). Look, if you want to post a shirtless selfie or a sultry bathroom picture of yourself, I would prefer that any day over doing so under the guise of “comedy”. Frankly, it’s quite insulting to our intelligence by doing so.

It must be said, though: props to the Instagram comedians working tirelessly to defy the moral status of the uprising generation; unafraid to severely exploit the vulnerable hormone-fuelled limbic systems, knowingly plugging into their digital lifelines. They’ve figured out the unwritten algorithm of the jamming-the-fast-forward-button nature of social media and consequent hysterical fan response, bypassing the more traditional celebrity framework – a strange, uncalled-for breed of “influencers” who live and die on their approachability, but ultimately, is a testament to their outrageous sense of entitlement and dollar sign eyes.

Where is the sense of pride? Where is the responsibility in reaching out to millions of malleable minds, the responsibility in setting the tone of what passes as humour to an entire generation? Impressionable children will witness “comedians” making light of sexual assault and rape, perhaps even standing up for the insensitive jokes adults used to be able to control through comedy clubs. Instead, this dangerous behaviour slaps young viewers in the face with no caveats through every and any Wi-Fi-connected device.

It’s offensive to creators in the digital world creatively dedicated to what they do – it takes courage and hard-work, of which the latter seems to be forgotten. And after all this, it left me with a couple questions: what does it mean to be a creator these days, and what has entertainment turned into? Having grown up watching YouTube since I was 8 years old, I’ve grasped a little of the ethos of long-standing YouTubers – they avoid drama, or indirectly tackle it in a clever way; their relationship with YouTube headquarters is amusing, to say the least; but, most important, they stay rooted. So, the sheer fact they’ve felt strongly enough to comment on the shifting online entertainment speaks volumes to me. Ryan Higa talks about the powerful politics behind-the-scenes of award shows, how we perpetuate the vicious cycle by treating such entertainment with much more value than it should have. PewDiePie so aptly says the number one rule in becoming a popular content creator, especially in the vlogging community, is a simple equation: flexing = views. He goes on to expand that vlogging has become the new clickbait window-shopping going beyond the materialistic behaviour, repeatedly begging the question, how far will you go, hitting the nail on the head describing the behaviour as pathetic & Neanderthal-like. Smosh have comedically parodied Instagram comedy several times pretty accurately. Wong Fu recently launched a Patreon page, and Phil talks about having watched the digital space & industry change immensely, how click-bait videos these days overwhelm the few channels creating original scripted videos. He spoke about their company never wanting to comprise quality & integrity because they care about their artistry and the fans, and it’s something so realistically addressed in their 3 million subscribers video. And, honestly, it makes me sad.

I’m not saying all Viners who migrated to YouTube are terrible; neither am I saying YouTubers these days are just money & fame hungry. Amazing creators are born all the time on YouTube and I’m struggling to keep up with my subscriptions because I have over 500 (I wish I was kidding). I’m a loyal member of the meme economy just as any other millennial. However, Instagram comedy was simply the trigger that made me step back and wonder, this can be detrimental to younger kids. What irks me is that it’s not those high quality content channels trending, but instead, ridiculous Musical.ly stars scamming money off gullible pre-teens are. I’m lucky to be able to step away and macroscopically see the situation as a 20-year-old, that I can put myself in the right frame of mind. Unfortunately if I was 12, this post could just’ve easily been a Wattpad tribute defending the #TanaCon disaster.

©TMK

Never Enough | “The Greatest Showman” (Cover)

So…musically…exhausted.

My incredibly talented sister and I decided to do our rendition of “Never Enough” sung by Loren Allred in “The Greatest Showman”.

Vocally, the most difficult part of the song was the very last “for me”, this fragile feathery little C-note of a thing, treacherously teetering on the scales of Anubis against cliche human desire (because it holds that much volume, as you’ll hear in the bloopers). Piano-wise, playing the “string” of quavers (pun intended) took me ages before I got a take not mistakenly slipping into that irritating, weak D when playing the Ab/Bb/C/Eb in octaves. But, thoroughly enjoyed the quaver/triplet/sextuplet progression runs in building intensity as my sister repeatedly belted and held that exhausting Eb. Whew, I think even after having listened to “Never Enough” for well over 100 minutes worth of time, this majestic composition is so deserving of every second of it. We hope our version does it somewhat justice!

©TMK

Cian Ducrot | Interview

Cian Ducrot is a 20-year-old singer-songwriter, producer, and multi-instrumentalist from Cork, Ireland. He started uploading covers & original music on YouTube in 2013, and released his debut EP, “Words I Never Spoke”, earlier in January this year. Presently, Cian has an incredible following of over 50,000 people online, and I had the opportunity to have a chat with him about his greatest influences, auditioning for “The Voice”, and the direction of his musical career.

Where did your love of music come from?

My love of music came from my family (mother and brother). I started at a very young age studying classical music and theory when I was 4 years old, but also did musical theatre. I then taught myself guitar and piano further on when I began to songwrite. I’m currently studying at the Royal Academy of Music in London.

Which musicians & songwriters have been your greatest influence?

I’m hugely inspired by artists like Michael Jackson, John Mayer, Shawn Mendes, Justin Timberlake, a lot of classical & jazz influences and smaller scale songwriters & musicians, such as Bruno Major and YEBBA.

I must ask: favourite chord or chord progression? 

My approach to chords changed once I opened up to blues and jazz and from there I took a lot of new influences. I don’t think I have a favourite chord progression, it all depends on the emotion and situation.

Jazz, huh? You must do a lot of improv. 

I love to do improv, yes, everyday!

So, you auditioned for “The Voice” about a year ago; you then released a video a while after, revealing the realities of the auditions and what really goes on behind-the-scenes. It was quite astonishing – what compelled you to make that video?

My video about “The Voice” was only to raise awareness about what goes on behind these shows. They are full of good intentions and I was treated kindly, but sometimes I feel the public isn’t fully aware of how these things really work.

Let’s look to future. What current music projects are you working on that we could look forward to, and what are your plans for the times ahead?

Currently I am writing LOADS of new original material. I’ve been working closely with the incredible Eddy Ruyter who is a tremendous songwriter and musician currently touring as Shawn Mendes’s piano player. Eddy has thought me a lot about songwriting and about my own musical style so I am incredibly grateful. I think in the last 2 months I’ve written 10 of my favourite songs and I’ve really started to find myself in terms of writing. I am working towards some London shows and I am very excited to perform live and get my new music heard and hopefully online soon also!

Well, I’m extremely excited, too – I can’t wait to hear your new music, and working with Eddy must’ve been an incredible experience. What was the best advice you got from him about songwriting?

I think something he helped me with a lot is making sure every lyric I write really ties back to the meaning of the song and makes sense to the listener.

And finally, when times get difficult, what motivates you to keep going?

My goals keep me going – the will to succeed and do the best I can.

Thanks so much for taking the time to have a chat, Cian!

Go give Cian some love:
Official Website
YouTube
Instagram
Twitter
Facebook

©TMK

“Would You Be So Kind?” | Dodie Clark (Cover)

I have Twitter. I deleted the app years and years ago on my iPhone, but once in a blue moon, I’ll open up my laptop and type in the embarrassing password my best friend & I devotedly created in our fangirling tween years. You’ll be greatly relieved to know my priorities on Twitter have swung around wildly; I go on to see what my favourite authors, astronauts, and scientists are up to in life (amongst all the irritating weight loss detox tea giveaways). No more broody, vague two-word tweets and a very carefully crafted emoji triad. Just full-on stalking now…

Man, that doesn’t sound much better.

What was I trying to get at? Oh, right – my Twitter bio. It’s one of my favourite quotes,  one from Cassandra Clare’s “City of Bones” by the witty Jace Herondale: “…declarations of love amuse me. Especially when unrequited.” Yes, yes, I know; riding the cynical high horse. But just like Jace, it’s with a saddle of irony…and this leads me to my cover of Dodie Clark’s adorable song, “Would You Be So Kind?” Even though I haven’t properly played the ukulele since Year 9 or so, it’s one of those instruments that go easy on you. On a random note (F# minor haha ha ha get it, because it’s not a chord in the song, I swear I have friends), I really like Tom Holland’s dog, Stella. Anyways. I hope you have a beautiful day!

©TMK

“There’s Nothing Holdin’ Me Back” | Shawn Mendes (Cover)

Aaaaaaand I’m back. I’m so incredibly sorry for the hiatus…again. It’s just been such a beautiful summer, and I definitely enjoyed getting lost in it. Get ready for a bunch of posts next week!

So, you may know I really appreciate the work of Shawn Mendes – so much so I hightailed it as soon as we left the exam room to go into London to watch him. Hence, it should be of no surprise that my extremely talented friend and I decided to do our rendition of his song, “There’s Nothing Holdin’ Me Back”. If you roam through my YouTube channel, you may see we’ve done past covers together, filming with an iPhone propped up on an old music stand. To have her amazing cousin come film & edit such a crazily high quality production was thus a bewildering privilege we were not used to – check out his blog: https://mathmasonfilm.wordpress.com. Anyways, we truly hope you enjoy!

©TMK