Oliver Anthony Doesn't Need Woke Gatekeepers And Neither Does Any Other Star | Christian Toto
The term “overnight sensation” sounds like a movie plot from Hollywood’s Golden Age.
An ordinary guy or gal finds instant fame and all the complications that ensue. Except the phrase is misleading. Every so-called overnight sensation is actually part of a painstaking plan to shine amongst the stars.
Oliver Anthony rewrote that Hollywood script.
The Virginia resident’s anthem, “Rich Men North of Richmond,” made him the closest thing to an overnight sensation. Now, he’s reportedly bringing in $40K a day after turning down mainstream offers worth millions.
Who needs a contract, and all the insidious demands they can entail, when Anthony can sit back and count his download-generated cash? Yes, that flow will slow to a trickle, but the singer-songwriter is working on other songs that could similarly make him a fortune. Plus, he seems like a simple man, someone who won’t blow his sudden wealth in one “Hangover”-style weekend.
Best of all?
He’s in charge of his own destiny. He doesn’t report to any music label executive or marketing guru. It’s just him, his music and an exploding fan base. He can sing what he wants, where he wants and when he wants.
No strings. And, more importantly, no woke manifestos controlling his muse.
That kind of creative freedom is rare and precious. Yet, given our digital age, it’s becoming increasingly common for creators who risk going solo.
Rapper Tom MacDonald and country crooner Buddy Brown similarly avoided traditional labels. Each has found sizable success online, buoyed by digital downloads and YouTube monetization. They routinely mock the woke mind virus, too, and their dedicated fans lap it up.
Comedians now post their stand-up specials either on YouTube, Rumble or via their own web sites. They don’t have to rely on gatekeepers like Netflix, Comedy Central or Max to share their jokes.
Now, they have the last word on what jokes make the cut. That means “problematic” gags are no longer a problem. Raw, unfiltered humor is one more reason to sign up for the specials.
Comedian Andrew Schulz teamed with an unnamed streamer last year to release his special “Infamous.” Except his bosses demanded he remove offensive jokes from his routine. So he bought the special back and released it independently.
He swiftly made his money back, and then some.
Louis CK releases all of his new projects via his web site and email list. Hollywood canceled him in 2017 after he admitted to sexually stimulating himself in front of several women.
The “Louie” star remains canceled, so he reached out to his his loyal fans to keep his career alive. It worked. CK sold out Madison Square Garden earlier this year.
Other comedians lack CK’s baggage, of course. They simply crave the freedom that going rogue entails. Comic Joe List, who teamed with CK for the 2022 film “Fourth of July,” released his latest comedy special, “Enough for Everybody” and generated north of 320K views on YouTube in just five days.
Shane Gillis, fired from “Saturday Night Live” in 2019 for telling problematic jokes about the Asian community, now shares his work on YouTube. His special “Shane Gillis: Live in Austin” has 13 million viewers since its 2022 release.
Those online specials may often be “free,” but they generate monetization revenue and brand awareness. if you like a comedian's YouTube material, chances are you'll pay to see him or her at a comedy club near you.
Not every artist can ditch the gatekeeper machinery that keeps many superstars afloat. Sometimes it helps to have a team at your side, with all the marketing expertise money can buy. Studios offer an array of resources that are out of reach for most artists.
The digital age allows a growing number of creators to go solo, avoiding gatekeepers and woke scolds in the process.