They're habituated into going into a platform, getting into a satisfying feed, then snapping out of their trance 3 hours later. Most viewers DON'T CARE if the creator is making money or not. So if YouTube can make the ad experience great, THEN TikTok is screwed, right? Someone please go disrupt the creative in that space by making ads that feel like YouTube content! Media served on YouTube still mostly feels like commercials you'd see during Nickelodeon ad breaks in the 90's. Snap has done a great job making ads feel like regular content. YouTube is going to make a lot of creators happy, but on short videos they have to do a very delicate dance to make these ads as non-disruptive as possible. Now here's the most obvious thing I'll ever say: people hate ads.
SNOOP DOGG HOLD UP SOUNDBYTE INSTALL
YouTube Shorts monetization is a light switch and TikTok still has to install the recessed track lighting system. TikTok is building fast, but they have a lot of catching up to do. That's 13 years of complex payout infrastructure. That's 19 years of really perfecting ad buying and targeting, making an interface that's intuitive for self-serve targeting, and building a trusted market of buyers that build YouTube inventory into their media plans by default.Īnd YouTube started really paying creators at scale in 2009. Google has been doing this for a very, very long time.ĪdSense launched in 2003. Let's start by addressing the "Why doesn't TikTok just do the same thing!" issue.
SNOOP DOGG HOLD UP SOUNDBYTE FREE
(To hear a free Sound Bite from this album, call Post-Haste at 20 and press 8171.YouTube Shorts creators are about to revenue share with creators, monetizing 1.5 billion monthly Shorts viewers. Xzibit knows who he is and is about to become. When Dre sets up the lead single, "X," with a prancing mix not that different from Snoop's "Lay Low," Xzibit transforms the whimsical vibe by cramming the spaces with torrid rhymes and mashing down hard on the punctuated beats.Īnd when Xzibit lets down his guard and apologizes to his son over a lilting flute on "Sorry I'm Away So Much," the softer side feels like a natural extension of the man rather than a portentous experiment.Įven more than their stylistic disparity, the crucial difference between "Tha Last Meal" and "Restless" is that Snoop Dogg knows what he has been and wants to remain. Tempering his trademark battle-rhyme vigor enough to broaden his appeal without sacrificing his rugged sound, he uses lyrics that exude hunger and confidence.
Yet even when Xzibit cedes center stage to Eminem ("Don't Approach Me") and KRS One ("Kenny Parker Show 2001"), there's no doubt that "Restless" belongs to him. "Restless," Xzibit's third CD, which appeared a week before "Tha Last Meal," features tracks produced by Dre and raps by Snoop and some of Snoop's buddies, including Kokane and Nate Dogg. Ironically, while Snoop struggles to hold his audience without repeating himself too obviously, the West Coast rapper who is hijacking his hype is Xzibit, whose emergence from the underground was helped along by a guest spot on one of Snoop's albums and appearances on the Up in Smoke tour of Snoop and Dre. Then he obliterates the mood immediately following with the record's most raucous mix ("Back Up off Me"). More specifically, "Hennesey N Buddah" is a suave stroll through a gantlet of alcohol and blunts that inevitably suffers in comparison to Snoop and Dre's "Gin & Juice." The gangsta shout-outs ("Wrong Idea") and turf dramas ("Lay Low") likewise cover thematic territory that Snoop and Dre secured more effectively years ago, when the subjects were fresher and more relevant.Īnd when Snoop does break the mold with a vulnerable R&B croon on "Leave Me Alone," he robs the song of its surprise first by telling listeners they are going to hear something different. When Snoop and Dre aren't regurgitating their vintage collaborations from the mid-'90s, they're adding too much sweetener: molasses-paced tempos and high, mincing harmonies. But this unwieldy, 77-minute "Meal" is a clutter of side dishes. Dre, who arranged or mixed most of the tracks. Counting the recent release of outtakes from his days with the Death Row label, his leadership of Tha Eastsidaz and his sponsorship of the female group Doggy's Angels-not to mention his usual trunkload of guest appearances and soundtrack tunes-Snoop-related product has flooded the market in 2000, with soggy and stale results.ĭie-hards held out high hopes for "Tha Last Meal," the year's only release of new material under Snoop's own name. His sinuous purr remains one of rap's most compelling signatures, but the status of Snoop Dogg as a dominant force in the hip-hop game is wearing thin.
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