Earlier this month Shaun Wilson-Miller, a 17 year old teen from Melbourne posted a video on YouTube revealing that his body was rejecting his second heart transplant and that his doctors would be unable to perform and third.

In his video titled “My Final Goodbye”, he reassures his friends and family that he will be fine and to not cry for him. After only weeks of posting the video, 9News has just reported the teen passed away yesterday.

This is incredibly sad new and we’d like to express our condolences to Shaun’s friends and family.

Here’s the big question of the day as we prepare for Memorial Day weekend: Is Rickrolling dead?

The answer is yes and no. Why am I giving two answers to the question? The world-famous trolling meme featuring 1980s crooner Rick Astley singing “Never Gonna Give You Up” mysteriously disappeared from YouTube earlier this week from YouTube due to a copyright complaint from AVG Technologies—a firm specializing in antivirus software.

Of course, fans of the meme went up in arms and just as quickly as it disappeared, it reappeared but questions still remain about why AVG made the complaint. After all, it is one of the most enduring memes in history, utilizing this bait and switch technique by using an obscure hit song from 1987 complete with awful synth sounds, trenchcoats and yes, Rick’s famous red hair. If you’ve forgotten how rickrolling works, all you have to do is send someone a link to what they think is something different, but it’s actually the “Never Gonna Give You Up” video. I can’t remember how many times I’ve been rickrolled and how many times I’ve rickrolled others.

On the social news website Reddit, a user by the name of Cotter548 claimed to be the inventor of the most beloved (and most reviled) memes out there. He said he started the meme back in 2007 in South Korea. The rickroll came from a similar meme called “duckrolling” where someone would get an unsuspecting user to click on a link that was merely a picture of a duck on wheels.

“I decided to show people the new trailer that Rockstar had put out for the next year release of GTA [Grand Theft Auto],” he recounts in his Reddit post. “Of course, nobody suspected that there was no trailer video, when the video started, the user would instead be listening to the soothing sound of Rick Astley, and the video caption said ‘You just got Rickroll’d.’”

Since then, rickrolling became a global phenomenon with 61 million views. It has been used in, among other things, protests, video games, television commercials and Macy’s Thanksgiving Day parades.

This isn’t the first time YouTube has threatened Rickrolling into extinction. In 2010, YouTube took the original video down due to the same copyright issue but like what happened this week, reappeared again.

It’s safe to say that this meme is never going to give and won’t let us down for a while.

[Source: MSNBC, Herald Sun]

“Oh, go fuck yourself, Google. This is just as bad as companies forcing me to “like” something on Facebook before I can view whatever it is they want me to “like.” Just let me thumbs up something, without forcing me to “upgrade” to G+, you dickheads.”

Before reading this post by Wheaton, I had no idea that Google was forcing YouTube users to sign up for Google+ accounts. Wanting to see this for myself, I decided to like a video signed out of my account. I then received this message from YouTube.

Okay, that seems pretty standard. I guess I will just create a dummy YouTube account so I can like videos. This should only take me a few minutes. Little did I know somewhere in Santa Clara, California a Google engineer bathed in the glow of a computer monitor was whispering, “If only it were that easy you fool.”

What in the world is this? In order for me to like a YouTube video of a talking cat, Google needs my name, username, birthday, gender, phone number, and current email address.

At this point I don’t even care enough to fill out all this information. I can’t imagine anyone else feeling much different. This is the core of Wheaton’s argument and overall rage about Google’s baffling new policy. In his post, Wheaton goes on to write:

“The worst part of this? For a producer like me, I’m going to lose a crapton of potential upvotes for Tabletop, because the core of my audience is tech-savvy and may not want to “upgrade” to yet another fucking social network they don’t want or need.”

As if the registered disgust of Wheaton wasn’t enough to spark a fire in any nerd’s heart, legendary author Neil Gaiman added in his two cents.

“I wish Google would leave the Social Network thing to others. When Google does what it does, and does it well, it changes the world. When it rides bandwagons, it’s irritating. I’m not on Google Plus, and I suppose that I won’t be liking YouTube videos any longer.” Gaiman added to Wheaton’s post.

In summary, don’t piss of the creator of The Sandman and a once Star Trek: The Next Generation cast member turned geek hero. Google, you have enough on your plate already, stop forcing your social network down our throats.

In case you needed some inspiration before voting, host Dominic “D-Trix” Sandoval gave his take on the contestants. For most improved, he bestowed it upon Kingsley and Carrington and for best chemistry Seananners and his dance partner Lauren. Finally, what was his opinion on the best performance of the night? WhatsUpElle.

While D-Trix seemed to have praise for nearly all the contestants, he expressed disappointment in WoodysGamerTag’s dance performance, noting that the dance “just kept going down this all and not working out.” He said Woody’s facial expressions and moves looked like a “sad puppy that didn’t know where to go.” Nevertheless, he gave WoodysGamerTag an award for “Best Non-Boob Grab.”

Of course, D-Trix isn’t the one deciding who’s going to get the $25,000 prize—it’s you, the fans. Watch the latest episode and you can vote for these final four candidates up until next Tuesday, May 29. Just to be sure what you’re voting for, D-Trix reminds you that “this is not a popularity contest. This is a dance competition and 25 G’s is on the line!”

1. Stop Depending On YouTube

Yes, I understand many of you make a living off YouTube. Some of you are so comfortable with receiving checks every month for your videos that this expectation is second nature. Stop falling into that trap! While YouTube is a huge monster with tons of funding, you can’t depend that it will be there for you forever. Because of that, you need to make sure you have other ways to maintain your following. This leads to my next tip.

2. Build a Social Media Following Aside From YouTube

One major thing that YouTube partners have stressed about is with the layout and algorithm changes, their views have dropped dramatically. Simple put, you can’t depend on YouTube to help drive views to your videos anymore. For example, the music page of that was once a place to see the next possible big musician on YouTube has now been replaced by top 40 music videos. Because of that, you’re going to need to learn how to drive your own views. With that being said, I want to heavily stress that you all take priority in building your social media followings. Make sure you find ways to drive your YouTube viewers to your Facebook and Twitter. I’ve seen partners with over 1 million subscribers, but only 50,000 likes on their fan page so I know there are people out there not doing this. Having other places to reach your audience will give you more outlets to promote your content. (Bonus: Check out this great infographic on 7 ways to grow your social media fan base).

3. Build A Solid Email List

I don’t care what you’ve heard. Email marketing is NOT dead. How do I know? Regardless of how often you’re on Twitter or Facebook, you always at least check your email once or twice a day. Have an email submission box on your webpage and offer an incentive (ex. free exclusive content) for them to sign up. Having a good email list is super valuable because tweets and status updates release in an up-to-the-minute feed, which doesn’t guarantee that all your followers/fans will see your posts. Email marketing insures that every single blast you send reaches their mailboxes, which gives you a higher click-through-rate to your target video.

4. Join a Network And/Or Studio

I am not going to speak on this because I think my writer Matthew Manarino explains the benefits best in his latest article whether YouTube Creators should stay independent or sign to a studio. Read that man’s stuff, it will change your life.

5. Let Your Fans Work For You

Yes, your fans can support you by subscribing to you and buying your stuff. But I think the greatest power of having a fan base is training them to help you get new fans. Pay extra attention when you go on Twitter and try to pinpoint which specific fans seem to be the most engaging around your content. If you see a particular fan constantly sharing and RTing your stuff on a daily basis, give them a personal shout out or better yet, offer them free stuff. Incentivising these loyal fans will make them feel recognized and encourage them to consistently share your brand everywhere they go. Doing this will also encourage other people to do the same because they can see that you care.

“Your Place is a Deal Breaker” is one of the several shows featured on the YouTube channel Spaces. The original content channel is YouTube’s answer to HGTV but much shorter and much stranger. The show “Offbeat Spaces” features bizarre and virtually uninhabitable dwellings occupied by weirdos. In one episode, a productive member of society named “Hideous Lloyd” shows off the abandoned tent he now calls home at Manhattan’s Occupy Wall Street shantytown. “I live With My Mom” is another featured show, in which young adults still, well, live with their mothers.

Spaces is by far one of the most inventive original content channels YouTube has rolled out this year. If all of YouTube’s premium channels had the originality that Spaces has, then I’d bet 90 percent of them probably wouldn’t be predicted to fail.

In an interview with The New York Times, co-founder Joseph Gnomes of DBG, the company producing Spaces, told columnist Steven Kurutz, “We like the idea of these barriers coming down. In traditional broadcasting, the rules are very much ensconced. With this, it’s the Wild West. It’s almost like an Oklahoma land grab in terms of getting in there and creating original content.”

It’s this type of attitude that I believe will set Spaces apart from YouTube’s drowning channels. Gnomes understands that they are working with a different audience and do not need to work within the confines of television. Lately, too many YouTube creators have been trying to create television content for the Web. The problem with that is that YouTube is not television and never will be. The average YouTube patron wants short eccentric content, and Spaces is meeting that need. Here’s hoping that sinking channels will take notes.

The new Human Rights channel on YouTube is a partnership with the non-profit organization WITNESS and social newsgathering outfit Storyful. Why would YouTube, which has largely been more known to host viral videos that are more entertainment than inspiring, have interest in human rights?

In its blog post today, YouTube said, “In the case of human rights, video plays a particularly important role in illuminating what occurs when governments and individuals in power abuse their positions.”

Consequently, the channel is “dedicated to curating hours of raw citizen-video documenting human rights stories that are uploaded daily and distributing that to audiences hungry to learn and take action. The channel, which will also feature content from a slate of human rights organizations already sharing their work on YouTube, aims to shed light on and contextualize under-reported stories, to record otherwise undocumented abuses, and to amplify previously unheard voices.”

From first glance, the actual number of uploaded videos consists of title cards, but if you look at its “featured stories,” it has coverage of ongoing efforts in Bahrain, Syria and the Occupy movement.

Whether this dedicated YouTube channel will become the next hub for activism and human rights issues is unclear given the independent nature of this subject. However, YouTube added that it has high hopes in reaching an enlightened audience with its new channel.

“We hope this project can not only be a catalyst to awareness, but offer people new avenues for action and impact,” the blog post read. “The channel is committed to providing new citizen creators as well as viewers with the tools and information necessary so that every citizen can become a more effective human rights defender.”

[Source: YouTube blog]

With major studios like Revision3, Maker Studios and Big Frame steadily picking up YouTube’s top talent, the end of the indie creator is upon us. But, as YouTube continues to grow, is the fact that studios are poaching our favorite YouTube personalities such a bad thing?

Why You Should Stay Independent

The biggest selling point for artists to stay independent is freedom. Plain and simple, creators are free to create and distribute their work in anyway they see fit. You do not have to worry about appealing to any corporate advertisers and you won’t find yourself in a McDonald’s ad unless you want to. The moment your name goes on a contract, you are signing away a portion of your earnings as well as a small amount of creative freedom. That is not to say that all studios will immediately force you to wear a rainbow wig while singing a song about the McRib. But there is always a fair amount of give and take when working with executives and studios.

If you are all about creating art, on your own terms regardless of whether it is seen by ten or ten thousand people, I say stick independent.

Why You Should Sign To A Studio

On Maker Studio’s about page, they describe their studio saying, “Maker is developing sustainable programming and building large audiences on YouTube with over 80 million subscribers and 800 million monthly views across more than 500 channels.” That pretty much sums up the reasons why an artist could benefit from signing with a major studio. Exposure. Exposure is key if you are looking to make a living as a YouTube creator. Studios have the funds and resources that will give you a leg up on your competition. Letting studios handle your distribution and promotion also frees up much more of your time to actually create content. Even though you may lose the ability to be your own boss, working with a studio can allow you to reach millions of screens worldwide.

If you are looking to turn your time on YouTube from a hobby to a profession, studios might be the answer you are looking for.

The battle between independent versus signed artists will rage on until machines become sentient and rule this earth. Until then, what side of the coin are you on? Make some noise below.

“One of the main goals of this research was to understand how to inspire social TV activity among our audiences,” said Viacom executive vice president Colleen Rush in a statement. “At VMN, we’re focused on leveraging our fans’ attachment to their favorite shows by developing compelling social TV services and apps that deepen those connections and unlock the value of social chatter.”

First, what is social viewing? Most participants used words like “interactive,” “friends,” “Facebook,” and “Twitter.”

Consisting of 24 ethnographies and a national online survey of 13-52 year olds who engaged in social TV viewing weekly, the study concluded that there are three big C’s that keep viewers engaged with social television viewing:

Communication

Part of the appeal of social viewing is the opportunity to enhance entertainment content consumption with discussion and social bonding with others. Indeed, communication is crucial for social TV users, with 56% using social TV apps/services, 53% using Facebook, 50% through texts, and 38% using Skype or Apple FaceTime. “When I’m watching Jersey Shore, I have Facebook chats with 10 friends and I’m texting a dozen people, and I can be on the phone to my best friend,” said one participant in the study.

Content

Social TV users expect special content to satisfy and reward their enthusiasm and time spent on social viewing, with 88% wanting full episodes available online, 75% wanting sneak peaks of future episodes, and 71% wanting behind the scenes content and highlight clips. Further, aside from loving physical rewards for viewing, viewers also get an emotional payoff from virtual rewards like badges.

Comments

Social TV users read comments and discussion of shows to be introduced to different perspectives, discover new elements, and strengthen connections between viewer and show. Users valued comments from stars of the show most, followed by people they know. “I love reading Daniel Tosh’s tweets while watching Tosh.0. It gives the show a whole other dimension,” said one survey participant.

The three most common types of social TV viewing activities

Unsurprisingly, the study found that viewers are twice as likely to participate in social TV viewing when the content was live; otherwise, users felt “left out” of the social conversation if they missed an episode.

What can new media artists learn from the three C’s?

1. Have a strong presence in social media, and encourage your followers to commune over the topic of your brand and content.

2. Reward your followers with special content, preferably through your social media pages to further encourage communication and engagement.

3. Participate in the “social viewing” of your followers by providing insight or commentary to further fuel their fire.

4. Push content out on a regular schedule so that followers know when to look for you and don’t end up feeling “left out” of the conversation.

What’s your social TV viewing experience like?

But one panelist at the recent Digital LA NewFronts event last Monday suggested that while YouTube will be growing, “90 percent” of the funded YouTube channels are destined for failure. George Ruiz of ICM, who made the prediction, joked that the only ones that would be standing are his fellow panelists. David Beebe of Fishbowl Worldwide Media concurred with Ruiz’s prediction, noting that “you look at the Fall TV season and those shows either stay or go, it’s what sinks or what floats.”

It seemed that nearly all the panelists agreed with Ruiz’s assertions. Whether Ruiz’s prediction is scientific remains to be seen; however, it is clear that some of the new original channels on YouTube may have a short shelf life, and here are 3 reasons why:

1) Trying To Mimic TV Model Too Closely

In an attempt to woo major advertisers, YouTube is investing $100 million into producing new content and a $200 million marketing push. That’s a tall order for advertisers to handle and the company understands it. However, YouTube is playing it too safe by bringing in established, mainstream personalities you see on television ad film to star in these new programs on channels such as WIGS. Problem is, audiences for entertainment programs have been and are always fickle.

Viewers have long made it clear on YouTube of what works and what doesn’t work by choosing to watch and making their voices heard on the comments page or by sharing. Failing to engage users may bring bad omens for these premium channels. If you can’t convince them with a good reason to ditch the rabbit ears, then advertisers will avoid them. That means the dreaded c-word—cancellation.

2) Viewers Value Independence

Since the first video on YouTube made its debut 7 years ago, YouTube has become a magnet for those expressing themselves or to try their luck at what they do best. Viewers have rewarded these artists with making their videos viral and effectively changing the cultural and entertainment landscape forever. In addition, what sets these independent artists on YouTube apart is their close interaction with their fans through the comments page and through the number of shares, likes and views. Without the spontaneity and independence of ambitious average Joes, dreamers and ranters, the company would not have the influence it has today. To just sprout out videos for the sake of getting advertising revenue and rewarding clout rather than talent will not necessarily mean more views for their channel.

3) YouTube Expanding Too Fast

Of course the bigger problem with YouTube’s aggressive push to bring their funded content to the masses is that they’re growing too fast. We understand YouTube has to be bold and ambitious to survive, but funding 100+ channels by summer and expect a great return on their investment? Just read this list when YouTube introduced original channels back in October and you’ll see where this is going. YouTube contends they’re funding so many channels because they want “to bring an even broader range of entertainment to YouTube, giving you more reasons to keep coming back again and again. And for advertisers, these channels will represent a new way to engage and reach their global consumers.”

It’s too much for the audiences to choose from and whatever channel withers down that road will die a lonely death. Focusing more on what has already worked and funding a smaller batch may not give that broader range that the current plan has, but it would sure save YouTube some money for content that deserves recognition.

Are YouTube’s original channels destined for success or will many crash and burn as some are predicting? Let us know below.

[Source: Ad Age, Deadline.com, Stickcam]