**the following is a creative social media assignment for Spring 2015: Social Media Culture.**
you’ve probably never heard of me, but i am a celebrity. on what grounds? when i go to set up a online social media, video-streaming, school-related, or bank account, my online identity, kattyk711, is never taken. the world maintains its special place for me.
years ago, when i was just starting out on facebook, i kept my tagged photos hidden from everyone and barely posted anything. then, I made a private twitter account, not because i was hiding anything, as i also barely ever posted there. it wasn’t until i created an instagram account that i began to post more regularly so others could see, and by the end of sophomore year of college, my online self was completely exposed to the public.
according to a study about immaterial labor 2.0 (Cote 2011), and most people in the world, what you post on facebook, how many likes and comments it gets, matters. social media allows, really forces, everyone on it to be “social” and “performative.”
last year, when my family went through the loss of my dad, i felt that everyone who knew about the situation was watching me online for whatever reason. my assumption was proven true when i uploaded a new profile picture and it received much attention. While i didn’t upload it for attention and it wasn’t on the same caliber as some of my facebook friends who get hundreds of photo likes, I appreciated people trying to be there and acknowledging that they knew what was going on in my life.
however, the downside of going through something difficult in a very public way online was the pressure of what and how to post afterwards. the eyes that were on my family and me watched through the rest of the year, as evidenced by the amount of social media attention my siblings and i received. two profile pictures later, people were still giving me more affirmation than usual, something i suspected might happen, and the pressure of how to seem—how to look, how to sound—was too much. If i looked too “happy,” would people forget or not take my family and me seriously? Or would they encourage my “getting better”? while it was trivial on the surface, how i presented myself to my friends following the loss was a big deal at the time. consequently, i gave up trying to figure out how to sound online.
similarly, the first subsequent posts I made on instagram and twitter made me very conscious of how i seemed. i hadn’t tweeted for two months prior to my loss and chose to leave a single tweet up sort of about my dad for about a month after.
because i like to remain consistent in tone and style for my friends and fans, the things i post and the way i do it across social media platforms matters.
Speaking of my fans—i have recently begun doing something that became popular among my fellow celebrities a few years ago: direct online communication. a study done on lady gaga’s very successful tactics that resulted in her wide range of dedicated fans (Click 2013) states that social media give us the sense that we know celebrities by communicating through a personal medium. we are given access to their personal lives, so we can see where they are, who they’re with, and what they’re feeling after a long day on tour. upon realizing this, i, too, began tweeting at people in response to their tweets at me and to remind them that i’m a “regular” person, attainable and available to connect with online.
this conversation shows me participating in a random conversation. i maintain my usual minimalist tone in my contribution of two seemingly-irrelevant-but-relevant pop culture references.
sometimes, i directly acknowledge my celebrity in tweets i sign as “kk,” alluding to my famous friend gg, better known as gossip girl. here, i’m making a pop culture reference while giving a weather report and style advice for the day.
recently, i tweeted at a famous friend of mine in a public display of affection to let her know about my dream, as friends do, and because i knew she might see it, despite her hectic schedule.
a study about “transmedia teens” states that the access fans are given to authors and celebrities by online interactions mimics friendships (Martens 2011). more significantly, the study states that industries behind works and celebrities greatly benefit from the spreading of their content.
on october 3, 2013, i popularized the celebration of “mean girls day,” in reference to the film mean girls, in my communities with this one facebook status about my roommate. while i was not paid to do this, i unintentionally provided some immaterial labor for the movie. this sort of labor i unknowingly and unintentionally end up doing and the aforementioned pressures i feel at times make being a celebrity and being online more difficult than i expected.
however, it doesn’t end there. there is also the additional pressure of being a woman because according to the media we are exposed to everyday, the male gaze is a powerful thing that pressures us, both consciously and subconsciously, into looking our best for the camera. a study about performing gender on youtube (McMillan 2014) brings this pressure to light. there is an unspoken, sometimes spoken, rule that girls will be judged and picked apart for instagram selfies, youtube makeup tutorials and singing videos, and facebook profile pictures by everyone we’re connected to online and everyone they’re also connected too.
when i released my first 15-second instagram covers with my best friend uhohitsgracie, sometimes ohnoitsgracie, there was an understood pressure to look and sound our best during our performances. after many takes, these were the final products that went live.
https://instagram.com/p/r3CL9aF-P_/?taken-by=kattyk711
https://instagram.com/p/yVuP0Fl-GA/?taken-by=kattyk711
in conclusion, all I have left to say is:
works cited
Click, M., Lee, H. & Holladay, H. (2013). Making Monsters: Lady Gaga, Fan Identification, and Social Media. Popular Music and Society, 36:3, 360-379. Routledge. Retrieved from http://www.tandfonline.com/doi/full/10.1080/03007766.2013.798546#
Cote, M. & Pybus, J. (2011). Learning to Immaterial Labor 2.0: Facebook and Social Networks. Cognitive Capitalism, Education and Digital Labor. New York: Peter Lang.
Martens, M. (2011). Transmedia Teens: Affect, immaterial labor, and user-generated content. Convergence. Sage Publications.
McMillan, L. & Wotanis, L. (2014). Performing Gender on YouTube: How Jenna Marbles negotiates a hostile online environment. Feminist Media Studies, 14:6, 912-928. Routledge. Retrieved from http://www.tandfonline.com/doi/abs/10.1080/14680777.2014.882373#