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Gotham.TV
Reporting from the NYC online video scene, one party at a time.
06/07/2007
Poo Poo, Kaka, and the Bum Bums
Suroosh Alvi, co-founder of VBS.tv, was hailing a cab in London. First stop: Cambridge, followed by a flight to Israel, where he planned to sneak into the Gaza Strip -- "don't quite know how that's going to work" -- to film a few Israeli punk bands, zionist rock groups, and a "flower punk" quartet known as The Black Lips, which was touring the area.
"Real ghetto style," Alvi said from the cab, explaining his propensity not to plan, or even garner press credentials, before he travels. "Grab a camera and go. Same style we did Vice, just like we did VBS.tv."
Vice equals Vice magazine, the free monthly glossy that Alvi co-founded along with with Gavin McInnes and Shane Smith in 1994 in Montreal. VBS.tv is the magazine's online video site, which the founders quietly launched in February, and which according to Alvi racked up about 650,000 unique visitors this May. The videos: Women undressing while being interviewed (Shot by Kern), profiles of skateboarders (Epicly Later'd), investigations into waste dumps (Toxic West Virginia), and documentaries of foreign musicians (Heavy Metal in Baghdad), just to name a few.
And now Alvi was on his way to the Middle East to video The Black Lips, while partner Smith was en route to North Korea, after a brief stopover to film in the Sudan. All this from a couple of guys known more for their coverage of urban youth culture than international affairs.
"Yeah, VBS.tv is a little broader than Vice is," Alvi said, explaining his interest in global stories. "When people come to the site I think they're surprised, because they expect us to only be experts in poo-poo, kaka and the bum bums, if you know what I mean."
That broad scope comes courtesy of filmmaker Spike Jonze, who Alvi says inspired them to begin videotaping their stories. Jonze, who is now the site's creative director, got involved with Vice after cold-calling their offices in 2002 to invite the founders to a screening of his recently completed film Adaptation.
"We thought it was like some NYU film student being like 'hey guys, I made a movie and I want to show it to you,' which is totally what Spike said. And we were like 'who is this,' and he said his name and we were like 'Spike who?'"
The founders became friends with Jonze, who helped them film their first video series, The Vice Guide to Travel. Alvi and company had so much fun filming the series they decided to continue doing video work. Through Jonze they got in contact with MTV which, according to Alvi, had been planning to launch a broadband site for some time. VBS.tv went live four months later.
Since then, their video coverage of Iraqi heavy metal band Acrassicauda was the subject of an NPR piece on Tell Me More!, and their coverage of toxic waste dumps was featured on ABC World News.
These days VBS.tv is planning a redesign. They currently publish about 30 minutes of new material a day, although Alvi says that's probably way too much content for the average viewer. The staff also wants to make the site more accessible, easier to navigate, and rely less on offline visual metaphors: with the current design, the videos are surrounded by an image of a television. The navigation metaphor is a remote control.
"When we launched the site we wanted to make it as familiar to people as possible," Alvi said. "But that was one of Spike's comments, is that it looks too much like TV. We want to take advantage of the Internet more. So there's definitely a big challenge in redesign ahead of us."
05/29/2007
"I Do Part-Time Work for YouTube..."
The last time I went to The Alibi I got mugged, at gunpoint, on my way home.
Same place. Probably same guy. And there I was again, couldn't sleep, and had walked down the block for a nightcap. Now I was understandably apprehensive about leaving. So I slouched down at the end of the bar under the television, which was hanging from the low, tin ceiling by chains, and watched people come and go.
So this girl comes in, black sweater and burberry skirt, sits down beside me, and orders a Guinness. We talk, and after a while she asks what I do. I'm independently wealthy, I said. That's why I gave my wallet to the last guy I met. How about you.
"Well I do part-time work for YouTube, but I'm not supposed to talk about that."
Oh. Hello.
"I help with their filters."
Have another drink.
"The stuff they're getting sued over, you know? I'm part time. There's a bunch of us distributed and stuff, working from home or wherever. So they give us queries and we check whether the videos that match the queries are appropriate. Like, so, we get a list, like names of things, shows, just regular words."
Huh. I always wondered about that. I mean, I'm just a guy sitting under a TV set, but I thought they couldn't have any knowledge of what's in their database. Because if they did, and they saw that something was copyrighted content, they'd have to pull it. Do you make notes if you run across TV shows?
"If it's not an appropriate result for what we're searching for. And sometimes we have to check for porn. Because they don't allow porn on the site."
Huh. So. My name's Steve. Can I have your number?
...to be continued
05/21/2007
Guys, C'mon...
"Guys, c'mon." Akiva Schaffer turned away from the phone. Somewhere in the background, in Akiva's room at The Sunset Tower in LA, I could hear Andy Samberg and Jorma Taccone talking.
Akiva turned back to the phone. "It's some of both, I guess."
Some of both? This from the guy who, along with Andy and Jorma, wrote his own meal ticket by making comedy shorts on the Web. From that work they landed an agent, pilot deals with Comedy Central and Fox, and a writing gig for the MTV Movie Awards. That led to jobs at Saturday Night Live where, in 2005, Andy joined as a performer and Jorma and Akiva as writers. The second digital short they produced for SNL, "Lazy Sunday," is credited with bringing YouTube to mainstream attention (not to mention NBC's). Now they're in LA wrapping up production on their first movie, Hot Rod.
I had asked Akiva about whether YouTube might dilute the talent pool because recently I'd heard what, to me, was a disturbing story. A New York comedian I knew, someone who had had some success with her live show in the city, had been approached by a network concerning the creation of a pilot. She made a demo reel for them and they loved it. And then they told her to put it on the Web and see how it does.
"If it does well," they said, "We'll make a pilot."
That struck me as odd. Here was someone who had made her name offline, who was accustomed to getting paid for her work, and she was being asked to throw her lot in with the YouTube rabble, who give their creativity away for free.
"The good way to look at it is it's leveling the playing field," Akiva said. "Talented people, people who couldn't afford to buy a video camera and make a VHS tape and send it to Hollywood now have a chance."
So the problem, Akiva suggested, wasn't that all these low-wage laborers on YouTube would displace Hollywood talent. No chance. The problem is that there are folks who make funny videos just to be famous, and comedians who make funny videos because they want to be comedians. It's those people -- the ones willing to put in work beyond YouTube -- who the networks can trust to be bankable.
"It's still all about people you trust. You trust Will Ferrell to be funny because you've seen him be funny before. But do you trust some guy you've never heard of after you've watched his twenty minute clip? His ten minute clip? That's a risk. You'd rather work with someone you know."
"I will tell you how much the world has changed though," Akiva said, remembering a time when YouTube wasn't even an option. "Years ago when we made The Lonely Island, and we took our video to a network to say here, this is like a blueprint of what we want to do. We're not stand-up guys, we not movie guys, we're media creators."
And what'd they tell you?
"They told us we should go do a live show."
05/09/2007
Hudson Barnum
"Were you here ten years ago? This is just like ten years ago, the spitting image."
It's rooftop party season in Silicon Alley, which means barbecues. In Manhattan that means catering. My temporary conversation partner, a khaki-wearing entrepreneur on a deck chock-a-block with khaki-wearing entrepreneurs, has joined me where I'm standing, awkwardly alone but completely refreshed, beside a large tin bucket of beer. It was too crowded to move.
"Just like the bubble." he said. I suggested there were fewer
tchotchkes this time around. "Well, fewer tchotchkes. And fewer
strippers." Right, same thing.
The
rooftop: Aerie to a three-story loft that belongs to David Larkin,
angel investor and erstwhile host for Founders Club parties. That club,
founded by Dina Kaplan just this year, is dedicated to celebrating New
York entrepreneurs. Read: Anything San Francisco can do, we can do
better.
"You would not believe the e-mails and lies I got to get
in," she later told me, on speaker phone from her Soho office. "I said
no wives, no girlfriends. I mean we've got the CEO of Digg talking to
the founder of Wikipedia talking to the founder of MediaVest. But I am
brutal with the guest list. Brutal."
Back on roof, beside the
beer, Larkin's mottle-colored hound was gnawing on the bottle opener. I
left him to it and joined a group of young confederates who were
smelling each other's fingers and
discussing their accidental viral hit, a lipsync of Harvey
Danger's "Flagpole Sitta."
"My friend is a friend of the guitarist and he said to tell you LOL exclamation point exclamation point exclamation point one!"
"As if like I'm typing fast and I let go of the shift key!"
"No seriously, he was like thank you this rocks. This was like the one thing that could make me listen to that song again."
Soon
afterward we were ushered downstairs, where Dina jumped atop an
upholstered
bench and began thanking everyone for coming. A British gentleman
reminded everyone to enter the drawing for a free
business class flight to London. "It's worth $2000." Behind them, on
the mantle, a collection of tin robot toys. A samurai kamishimo
from the Edo period guarded the foyer. A couple beside the stairs
regarded a painting: "Is
that a Rilke?" "You mean Rothko?" "Yes." "No." (It was a Michael Boyd.)
I headed back to the roof, past a wall-sized photograph of
downtown Manhattan, World Trade Center and all. Somewhere somebody said
"Sanjaya 2.0." I
fell into the Harvey Danger crowd again and soon we were joined by a
girl whose
blouse looked like an unfortunate doilie.
"Have
you heard of Radar Networks," she said, plucking a random topic from
our collective IP-thrummed unconscious. "They're building the semantic web. They're in
stealth mode."
So they don't have a Web site yet.
"No, they do, they explain everything on it."
That's not very stealth.
She
narrowed her eyes. I wouldn't be sleeping with her that night.
She
turned to Jonathan Marcus, a young exec at Vimeo, and said, apropos of nothing, "You should move
to San Francisco." There was a pause and she started listing
neighborhood names.
Hayes, the Haight, Castro. Marcus tried to interrupt. Nob Hill, she said. The Mission.
"I've lived in San Francisco," Marcus said, smiling. "I hate San Francisco."
Welcome to New York.