Supermodel Kate Moss and UK dance fave Kylie Minogue act as Agent Provocateurs in a new viral video promotion for Agent Provocateur, a UK lingerie chain.
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Over at MarketWatch, John Dvorak opines that everybody is missing the point about YouTube:
It’s weird but almost nobody looks at this tremendous growth curve and asks themselves, “Holy cripes! How did that happen!?!” Instead you get headlines such as “Is YouTube the next Napster?”
What’s not so apparent, unless you actually have tried to use the various video sharing sites, is that nobody — and I mean nobody — made it easy until YouTube.
By merely combining a pent-up demand with ease-of-use you get the YouTube phenomenon. It’s brain dead simple, but I’m telling you that is all there is to it.
Dvorak’s right - ease of use is important. But is that really the secret of YouTube’s success?
Maybe. Or maybe the secret of YouTube’s success is hot chicks doing stupid sh**.
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The government of India has decreed that music videos, film promos, and trailers must be approved by the Central Board of Film Certification (CBFC) before they are aired on Indian TV channels. The rule will apply even if the material is produced outside India.
Music videos such as Kaanta Laga, and, more recently, Rakhi Sawant’s clips, had caused concern among the authorities. The ministry issued several notices to TV channels, including those beaming music videos deemed obscene.
Fortunately, you can still see this sort of scandalous stuff on the Internet.
Prepare to be scandalized….
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Slate’s Troy Patterson wants to reduced Rocketboom’s success down to cleavage:
“While it’s axiomatic that every new medium requires a new breed of personality,” writes Patterson, “what the vlog Rocketboom—a daily three-minute fake-ish newscast—required of Congdon was strikingly similar to what any number of old-media outlets asked of the buxom and obnoxious Jenny McCarthy.”
“Yes, there were moments during Congdon’s 20-month tenure as Rocketboom’s host that involved political satire, performance art, improv exercises, and free-floating whimsy, but her main mandate was to jiggle. Her ability to redefine the role of the bimbo in a way reflecting the spirit of the age led her to niche superstardom.”
While Patterson’s analysis may capture the adolescent male perspective, it’s sexist and dismissive to suggest that the Rocketboom’s success boils down to Congdon’s figure, rather than her wit or her and co-creator Andrew Baron’s intuitive understanding of what would work in a video blog.
A more accurate take might be to say that Amanda Congdon’s ability to redefining the role of the geek, as attractive, funny and global, led Rocketboom to success.
Rocketboom with Amanda Congdon:
Barely restrained.
Rocketboom without Amanda Congdon:
Out of control.