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Small Creators + Big Business



You’ve undoubtedly heard of the “creator economy” before — it’s no longer a novel idea, despite the fact that some people are more familiar with its meaning than others. However, creators are required by the creator economy. It’s written right on the package, as they say.

To summarize, the creator economy refers to two categories. The first is a wide, decentralized, and amorphous group of mostly self-employed creators linked to the digital world in some manner. These days, the term “influencer” is used to describe individuals with a lot of followers on social media. These people may include musicians, visual artists, filmmakers, graphic designers, bloggers and influencers. The second is the businesses and platforms that provide the tools for this development, as well as distribution and monetization.

The maker economy’s business side, unsurprisingly, is largely digital, thus the domain of the technology sector. This has made it easier than ever for self-employed artists to make a livelihood through their art.

It’s also helped to start the decades-long dismantling of the star model, which was a classic entertainment business practice in which a small group of famous stars created content for everyone while it was marketed. That’s not to say that subcultures haven’t thrived for decades — they have — but they’ve never made the bulk of the money.

The creator economy and technology developed relatively spontaneously. The shift was jumpstarted by viralness and audience access to newfangled social media platforms, but creator technology is now a distinct industry. As a result, its survival is entirely dependent on the persistence of this slide away from the superstardom paradigm.

Trying to break away from the celebrity model

In a July 16 letter to shareholders, Netflix acknowledged TikTok as a serious adversary, even comparing its rapid expansion to that of the company’s “astounding” success. It’s possible to make the case that Netflix’s hesitant embrace of TikTok’s competitive edge began last year, when the service unveiled Fast Laughs, a clone video feed with short clips selected from its comedy collection.

Regardless, Netflix has long been reliant on superstars: Zac Efron travels the world, Paris Hilton cooks, every household-name comedian has at least one special, and original movies and series have attracted the likes of Timothée Chalamet, Jane Fonda, Sandra Oh, and Anthony Hopkins. It’s a tired old guard.

Meanwhile, the biggest celebrities on TikTok are simply regular individuals who were funny or clever or incisive enough to attract an audience based solely on the algorithm and their talent. Many artists have discovered their particular area and a devoted following, despite the fact that they aren’t as well-known as others. The new guard is taking valuable attention and viewership from the old guard.

There are no “tentpoles” in the creator economy, which refers to a blockbuster film made by a studio that is so successful it ensures the survival of the company. This also applies to big labels: Most albums seldom recoup their costs, but Adele releases an album and pays for all those sequels that didn’t make money.

However, many creators have discovered their particular area and a devoted following, despite the fact that they’re not as well-known as others. The new guard is taking valuable attention and viewership from the old guard.

In other words, the creator economy is quite different from the traditional entertainment industry. Sure, TikTok has its own brand of superstars, such as Khaby Lame, who became famous for his hilarious frustration with overly complicated life hacks. He’s now an influencer for Meta.

People who follow Khaby Lame don’t open the app, view his most recent video, and then close it. Although the algorithm is created in such a manner that you won’t, it’s still worth mentioning. In addition, they follow a number of lesser YouTubers in addition to the big names, and the vast majority of the videos they watch are statistically likely to be created by people who aren’t well-known across countries.

Smaller producers gaining niche popularity and dedicated audiences are bringing about a sea change in how content is created, marketed, and monetized. This is where creator welfare enters the picture – and why maintaining it must be a priority.

Good moral character = a successful company

It’s easy to misinterpret the payment of creators as a purely ethical issue. But that is a well-traveled path to traverse. Obviously, artists should be fairly compensated for their efforts. So, let’s think about it in another light.

Fair compensation for smaller content producers must be at the heart of our business models for creator economy tech platforms. It’s crucial for our long-term viability as platforms and businesses to do so. It supports demand for our platforms by attracting creators and keeping them on board.

It’s also possible. There are no tentpoles in this game, and it isn’t the ’90s. Creator tech requires creator numbers. The creation of small creators is necessary for the creation of big demands.

The internet’s Creator Tech must go all-in in order to support small creators. Without providing support for smaller artists and fair payments, and without enhancing platforms that connect them to sponsorship and patronage possibilities, the anti-megastar approach will be for nothing. By doing so, technology would shoot itself in the foot.

Shareholders who profit significantly more than the creators themselves are neither commendable nor long-term viable, especially in this era of so much audience demand and willingness to pay. Ridiculous algorithms that penalise content producers for being absent for a day are overdue for an overhaul. It’s past time for these models to be updated, as well as the businesses that utilize them.

The future of creator tech should embrace and innovate on contemporary consumer needs. Creator technology is already creating a competitive market for patron platforms that cater to particular creators’ demands, as well as connecting brands with creators for lucrative partnerships in certain instances.

Patreon is changing the game for independent writers. Patreon claims to be suitable for creators of all sorts, although it’s the unofficial home for podcasters. The platforms that provide the most – money, exposure, possibilities, and accessibility – will triumph.

The continued development of licensing, distribution, and blockchain certification is as beneficial for artist welfare as it will be for the companies that enable them. What are the future prospects for art auction platforms, which must now operate beyond traditional galleries? Digital music, film, and image licensing is just getting started, and it represents an important link in the creator economy among video content producers, photographers, and songwriters.

In a nutshell, there’s money to be made, and no one is being taken advantage of.

Investing in up-and-coming creators is beneficial to the economy.

In the age of the autonomous creator, the responsibility of creator technology to creators must be understood in both ethical and self-preservation terms. If there’s no ecosystem of smaller creators, it’s hard to imagine how any creator technology would thrive. With growing numbers of independent creators with devoted followings spilled across platforms and mediums, the global superstar economy is being challenged.

The creators must live first in order for the creator economy to flourish. Patrons should come from all walks of life, not just the top down. Audiences must be more accessible. Creator technology can’t take all of the credit and leave nothing for the creators.

From a technological standpoint, this is an entirely unjustified belief. From a purely financial perspective, creator technology should not make this mistake. It will be relieved it didn’t from an ethical standpoint.

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How social media influencers are Controlling public opinion



Influencer marketing has seen an amazing rise in popularity in recent years, with entire industries being developed for big-name personalities who are paid to promote brand sponsorships with their millions of followers.

Although influencers with substantial audiences have been the focus of many marketers, savvy marketers have started targeting lesser-known influencers who aren’t nearly as well-known as their big-name peers, which has prompted fresh interest in less formal outreach.

The influencer’s market is being invaded by Nano Influencers, which could change the game.

According to the most recent data from Wowzi, a company that offers brand and business-level influencer marketing tools, this trend is shifting.

While the most popular accounts appear to have the broadest reach, smaller accounts with sizes of micro or nano-influencers frequently outrank their big-name counterparts.

With some influencers having millions of followers, getting an endorsement from one may appear to be a very effective marketing tool for a company.

However, the tide is turning, and numerous companies are recognizing the advantages of working with micro or nano-influencers, proving that it’s feasible to collaborate with your beloved brands even if you only have a few hundred followers.

Small businesses are increasingly aligning their marketing efforts to target nano content producers seeking to profit from their social media accounts and create long-term sources of income outside of traditional or formal employment.

The messenger matters a lot in emerging markets because of the low level of trust. An online endorsement from someone you know is far more effective than a celebrity recommendation, for example. As a result, nano influencers with smaller, more personalized followers are able to provide better-qualified sales leads. Everyone has influence.

The term “nano-influencer” refers to social media users with 250 to 5,000 followers. Engagement on content by nano-influencers is almost three times higher than that of celebrity personalities.

A good example is Linda Okero, who works full-time and creates content on the side. She has less than 2,000 Instagram followers and is a micro-influencer in the truest sense of the word.

She advertises company-sponsored social media content on her sites, such as Facebook and Instagram posts sponsored by East Africa Breweries Ltd (EABL), Coca-Cola, Netflix, and charges.

For years, we’ve thought that for companies to create a community, it must be driven by influencers with hundreds of thousands of followers on social media. We’re showing marketers that genuine influence is about authenticity, and I believe this is why they’re paying attention to nano-influencers.

When it comes to influencing, most people think of the big celebrity figures and forget the local nano-influencers who connect with their target audiences, particularly those outside cities.

Because they share the same beliefs and culture as potential target customers, these influencers live among them, speak their language, and participate in their activities, raising the probability of conversion. In order to realize our growth goals through this channel, we must also work together with the private and public sectors to establish beneficial relationships.

It’s critical to find a balance between old and new media in order to reach a varied audience via the media they consume.

We’re thrilled to introduce you to Wowzi, an innovative new marketing platform that has already secured 60,000 influencers in East Africa through word of mouth and has handled over 150 campaigns for over 100 customers.

After successfully delivering 150,000 paid employment opportunities in 2021, the business has announced plans to provide one million gig job opportunities for African youth by 2022 through its online marketplace.

Mobile use has become a key element of commerce in African markets, and it’s where young people already spend their time. Young people may simply learn the fundamental concepts of sharing brand messages using a lightweight remote training, so anyone with a phone can now influence their peers through social media.

According to the Hootsuite Digital 2021 Data Report, 20 million people in East Africa use social media.

Kenya has the most people on social media, with 11 million users, followed by Tanzania (5.4 million users), which is 8.9 percent of the population; and Uganda has about 3.4 million social media users, or 7.3 percent of the population.

In September 2021, Safaricom engaged a small “army” of influencers to create TikTok videos about a new product. With thousands of user-generated comments, the challenge was rapidly seen by millions of people. Within a week, the hashtag had 8 million views.


These are campaign outcomes that would not have been feasible previously because Safaricom could simply engage a dozen influencers one-on-one for the same campaign.

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Fast fashion & looking towards a sustainable future



Fast-fashion clothing production generates a lot of textile waste and significant environmental problems.

Many companies are beginning to address sustainability in fashion, as many have moved away from fast-fashion manufacturing processes. Fast-fashion companies have been criticized for their actions due to environmental and ethical issues such as textile waste and unequal labor regulations and wages. Some clients, as well as other members of the business, believe that something should be done. 

Fast-fashion consumers are among the most difficult to persuade because they’re among the highest spenders on fast fashion. Because of their high costs, students who attend college are some of the most significant purchasers of fast fashion. Popular sustainable labels such as Reformation have price ranges from $100 to $200 for a single shirt.

However, many individuals are under the impression that there are few options to high-priced long-lasting fashion labels — they are also better for the environment.

Rebecca Turner, senior apparel, merchandising, design and textiles major, said that there are two ways to purchase clothes more sustainably.

One of the most effective strategies to promote sustainability is secondhand shopping, because you’re not buying something new; instead, you’re purchasing something used, which can continue through its life cycle and result in no additional goods being created.

In terms of sustainability, junior apparel, merchandise development, design and textiles major Olivia Lewis is optimistic that it may be achieved by college students. She does not doubt that it presents a challenge, but she thinks it is possible.

“I feel like it’s all about finding balance, especially for college students,” Lewis said. In a decade, it’s quite probable that brands will be completely sustainable. In the meantime, students have an important long-term interest in holding the fashion industry and fast-fashion firms to account for their poor practices.

Trends are influenced by consumers and teenagers. We choose what’s trendy, what’s out of style, and what the next greatest things are. We utilize social media to express our own personalities. This gives Instagram and TikTok influencers power to influence the industry’s course. This may also add to overconsumption, if you’re an influencer receiving a product you’ll only use once or a consumer who is influenced to buy unnecessary things.

Huge clothing hauls from influencers are increasingly popular on social media sites. According to Lewis, when viewers see individuals doing Shein hauls of around 30 items for $100 on TikTok, they may be tempted to over-consume on websites like Shein and Zaful.

Overindulgence in charming and fashionable tops, on the other hand, doesn’t consider the influence of supporting businesses that mistreat their employees.When we acquire from fast-fashion businesses, we are essentially telling them that we condone their unethical methods.

It’s critical to learn about how our clothes are manufactured and the working conditions of those who make them. Fortunately, there are tools available to assist consumers in determining whether their favorite companies are ethical.The app “Good on You” assesses companies in three categories: labor, the environment, and animal testing or utilization.

Students do not need to replace their entire wardrobe with environmentally friendly brands in order to be more sustainable.If you want to refresh your wardrobe or try clothing swapping with your buddies, there are several options. The easiest approach to be more long-lasting in terms of style is to utilize what we already have in our closets and seek for improvement, not perfection.

We, as customers, have the ability to push for more sustainable and ethical practices from the fashion business. It’s critical that we become informed about the drawbacks of fast fashion so that we can make more educated decisions about where to spend our money. We can build a more sustainable future for us and future generations if we start supporting companies that are environmentally responsible and treat their workers fairly.

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Celebrity Cruises has announced that children 5 years old and above must be fully Vaccinated



In a statement to travel agents, Celebrity Cruises Senior Vice President of Sales and Trade Dondra Ritzenthaler announced the new policy change that will affect passengers aged 5 to 12.

From February 1, 2022, all passengers aged 5 years or older must be vaccinated fully. Unvaccinated children between the ages of two and four will be compelled to present a negative Antigen or PCR test obtained within three days of boarding any of the Celebrity cruises.

Previously, children between the ages of two and eleven were required to submit a negative Antigen or PCR test conducted within three days of boarding. There has been no change in Royal Caribbean International’s vaccination policy.

“The COVID-19 worldwide epidemic has not only altered how we do business, it has also changed safety standards and operating procedures in nearly every area of the travel industry,” according to Ms. Ritzenthaler.

“Since the start of this crisis, Celebrity Cruises has prioritized one goal above all else: to provide the safest cruise vacations available in the business. That’s why we enlisted a board of specialists to assist us in revising our already outstanding health and safety measures to new industry-leading levels. That is why we continue to update our procedures in order to stay ahead of global events. It’s all part of our leadership in safety, which is committed to ensuring that your clients and guests enjoy their bucket list excursion with no concerns. We’ve safely carried hundreds of thousands of guests all around the world with these enhanced protocols.”

Starting on January 13, 2022, children under the age of five who have not been fully vaccinated are not permitted to board Disney Cruise Line vessels.

Celebrity Cruises had already mandated that 95% of its passengers be fully immunized in order to sail, which was a step above Royal Caribbean’s previous requirement.

Because not many people were required to be vaccinated by Royal Caribbean in order for families to travel with them, there was no need for other companies to follow suit.

The CDC gave cruise lines two options in April 2021: skip test cruises if 98 percent of crew and 95 percent of passengers are fully vaccinated, or do simulated sailings first.

The simulated sailings were chosen by Royal Caribbean because it is dedicated to the family experience.

“Once there were two distinct options, 95 percent or less than that, it wasn’t even a question,” says Mark Tamis, senior vice president of Hotel Operations for Royal Caribbean International.

“We’re the world’s largest family cruise company,” boasts Tamis, who claims that more than 1 million youngsters travel on Royal Caribbean vessels every year. “It was obvious to go down this route,” she adds.

Will Royal Caribbean’s vaccine requirements change?

There has been no change in Royal Caribbean International’s policy on vaccines for children.

According to Royal Caribbean, as of now, only those 12 years old and older must show proof of COVID-19 vaccination; the last dose of their immunization was given at least 14 days before boarding. Children aged 5 to 11 who have been vaccinated may present proof of full protection and follow the established procedures for vaccinated guests.

Depending on the length and departure port of their cruise, guests under the age of 12 who have not been vaccinated will need to complete additional COVID-19 testing requirements.

During a question and answer session two weeks ago, Royal Caribbean International President and CEO Michael Bayley was questioned about a policy change.

“The plan is to release updates when and if we do make the changes. As a result, when we announce our plans, people get plenty of notice.”

“We do know that for ages 12 to 17, in the United States, where we state that everyone must be vaccinated, just 48 percent of 12- to 17-year-olds have been immunized.”

“Right now, from 5 to 12, we believe that just 35% of parents will get their five- to-12-year-olds vaccinated in the future. We feel that this is going to change. So we’d want to go up from there. We’re merely looking at the data and will probably continue analyzing it for a little while longer before making a decision.”

“We’re monitoring it, and as soon as we think we’ve found a reasonable solution, we’ll undoubtedly notify everyone. We’ll give everyone time to react.”

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