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Impaulsive: Bro-casting Trump, Part I

But first. . .

An Introduction to Bro-casting Trump: A Year-long SO! Series by Andrew Salvati

“The Manosphere Won.”

That is how Wired succinctly described the results of the 2024 election the day after Americans went to the polls.

Among the several explanations offered for Donald Trump’s stunning victory over Kamala Harris, the magazine’s executive editor Brian Barrett argued, one surely had to acknowledge the crucial role played by that “amorphous assortment of influencers who are mostly young, exclusively male, and increasingly the drivers of the remaining online monoculture.”

Sure, there might be some validity in saying that Trump’s election had to do with inflation, with immigration policy, or with Joe Biden’s “doomed determination to have one last rodeo.” But his appearance on several popular male-centered podcasts in the months and weeks leading up to November 5 likely did much to mobilize support for his candidacy among their millions of viewers and listeners. Talking to Theo Von, the Nelk Boys, Andrew Schulz, and Shawn Ryan “cement[ed Turmp’s] status as one of them, a sigma, a guy with clout, and the apex of a model of masculinity that prioritizes fame as a virtue unto itself,” Barrett wrote.

Indeed, during the president-elect’s victory speech, given in the early morning hours of the 6th, his longtime friend and ally Dana White, president of the UFC, took to the speaker’s lectern to acknowledge the contributions that these podcasters and their audiences had evidently made in elevating Trump to the presidency for the second time. “I want to thank the Nelk Boys, Adin Ross, Theo Von, Bussin’ with the Boys, and last but not least, the mighty and powerful Joe Rogan,” he said.

Spraypainted lips on a brick wall

As a media strategy, this was something of an evolution of Trump’s approach in 2016, in which the former reality TV star had used Twitter to such great effect to bypass legacy media institutions and bring his unfiltered message directly to voters. This time around, and reportedly at the direction of his 18-year-old son Barron, Trump again leveraged the massive reach of new media platforms to speak directly to his target demographic of Gen-Z men.

But the strategy was also of a piece with Trump’s frequent assaults on the press, which he typically characterizes as the “enemy of the people.” Appearing in some of the friendlier precincts of the podosphere allowed Trump to skirt around mainstream journalists with their “nasty” questions and cumbersome norms of neutrality and objectivity, and to bask in the mutual admiration society that some of these interviews became. Indeed, as Maxwell Modell wrote in The Conversation not long after the election, podcasters, in contrast to professional journalists, “tend to opt for more of a friendly chat than aggressive questioning, using what research calls supportive interactional behavior … this ‘softball’ questioning can result in the host becoming an accomplice to the politicians’ positive self-presentation rather than an interrogator.”

Podcasts, in other words, provided Trump with a congenial space to self-mythologize, to ramble, and whitewash some of his more extreme views.

In total, Trump appeared on fourteen podcasts or video streams during his 2024 campaign (Forbes compiled a full list, including viewership numbers, which can be found here), which together earned a combined 90.9 million views on YouTube and on other video streaming platforms (it should be noted, first, that these are not unique views – there is likely an overlap between audiences; second, that these numbers do not include audio podcast listens, which, because of the decentralized nature of RSS, are notoriously difficult to pin down).  

For her part, meanwhile, Kamala Harris also made the rounds on podcasts popular with women and Black listeners – key demographics for her campaign – including Alex Cooper’s Call Her Daddy, former NBA players Matt Barnes and Stephen Jackson’s All the Smoke, and Shannon Sharpe’s Club Shay Shay. It has been suggested, however, that the Harris camp’s failure (or perhaps unwillingness) to secure an appearance on The Joe Rogan Experience was a significant setback, and could have provided an opportunity to reach the young male demographic with whom she was struggling. In any event, while the counterfactual “what-if-she-had-done-the-show” will likely be debated for years to come, Rogan eventually endorsed Trump on November 4, throwing his considerable clout behind the once and future president.

While a comparison between Trump and Harris’s podcast strategy during the 2024 campaign would make for an interesting academic study, in the following series of posts, I will be particularly concerned with Trump’s success with the so-called podcast bros – partially because my own research interests are in the area of mediated masculinities, but also because they may have put him over the edge with a key demographic – with Gen-Z men.

Over the next few posts, I will examine several of Trump’s appearances on largely apolitical “bro” podcasts during the 2024 campaign season, including his interviews with Logan Paul, Theo Von, Shawn Ryan, Andrew Schulz, the Nelk Boys, and Joe Rogan. In the course of this examination, I will pay attention not only to what Trump said on these shows, but also to the way in which they established a sense of intimacy, and how that intimacy worked to underscore Trump’s reputation for authenticity. Along the way, I will also discuss the podcasts and podcasters themselves and attempt to locate them within the broader scope of the manosphere. Finally, given the passage of time since Trump’s appearances, I will consider to what extent, if any, individual hosts have become critical of his administration’s policies and actions – as Joe Rogan famously has.

Before I begin, however, I want to make a quick note about the sources: Following what is quickly becoming standard practice in the field, each of the “podcasts” that I analyze in this series has a video component, and in fact, may very well have been conceived of as a video-first project with audio-only feeds added as a supplement, or afterthought. For this series, though, my interest has centered on podcasting as a listening experience, and so the reader may assume that when I discuss this or that episode of Theo Von’s or Andrew Schulz’s podcast, I am referring specifically to the audio version of their shows. This is also why Trump’s interview with Adin Ross will not appear in this series – it was livestreamed on the video sharing platform Kick, and was subsequently posted to Ross’s YouTube channel (and thus is it technically not a podcast).

With that being said, let’s dig in. I will proceed chronologically, with Trump’s first podcast appearance on the boxer/professional wrestler Logan Paul’s show, Impaulsive, which dropped on June 13, 2024.

****

With about 13 minutes remaining in Logan Paul’s roughly hour-long interview with Donald Trump, the conversation turned to aliens. “UFOs, UAPs, the disclosure we’ve seen in Congress recently,” Paul explained, “it’s confusing and it’s upsetting to a lot of Americans, because something’s going, there’s something happening. There are unidentified aerial phenomena in the sky, we don’t know what they are. Do you?”

For his part, Trump responded gamely, and after respectfully listening to Paul, proceeded to tell a story about how, as president, he had spoken with Air Force pilots, “perfect people,” who weren’t “conspiratorial or crazy,” who claim that “they’ve seen things that you wouldn’t believe.” Still, Trump admitted that he had “never been convinced.”

still of an angry white man with overcombed reddish hair and a superimposed UFO on his right shoulder
SO! Screencap of IMPAULSIVE EP. 418

I start with this turn in the conversation not necessarily to dismiss the 29-year-old Paul as a conspiratorial thinker or an unserious interviewer, but rather to highlight the overall tone of the Trump episode, which was overwhelmingly chummy and fawning. It was clear from their deferential posture that Paul and his co-host Mike Majlak were in awe of the former president, and asking such questions was a way of keeping it light and easy.

Logan Paul, after all, is not known for his incisive political commentary. Indeed, in the 17 episodes of Impaulsive that were released in the six months preceding the Trump interview (all of which I have listened to for this piece), political issues hardly featured at all. One exception came during the December 19, 2023 episode with his brother Jake Paul (also a professional boxer, who was recently knocked out in a fight against Anthony Joshua), in which Logan and Majlak discussed the prevalence of right-wing or MAGA content and signifiers as the inevitable backlash to the excesses of the left and the “woke mind disorder,” as Majlak put it. Another example was the January 31, 2024 episode with former co-hosts Mac Gallagher and Spencer Taylor, in which Majlak went on a self-described “rampage” about the problems at the U.S. southern border (in particular, he referenced the Shelby Park standoff, though without naming it), and in which Paul’s father, Greg Paul, got on the mic to declare his support for “Trump 2024.” But other than these incidental moments and superficial takes, the show is not really the place for nuanced discussions of public policy or electoral politics. (Indeed, in the January 31 episode, Paul even attempted to stop Majlak’s rant by noting that listeners didn’t really tune into the show for political discussion).

Nor does Impaulsive, despite all its testosterone-fueled bro-iness, seem to fit comfortably within the manosphere, as I understand that term and what it signifies. Indeed, though Paul and Majlak seem to have fixed ideas about gender and about the differences between men and women, absent from their discussions (at least during the six month sampling of episodes that I listened to) is the kind of misogynistic and reactionary “Red Pill” rhetoric that characterizes manosphere discourses.

This isn’t Andrew Tate, after all, and it’s important that we keep track of the distinction.

young bearded blonde white man in a black suit and white shirt sitting to the left of a young brown haired bearded white man in a navy suit and white shirt, both talking into microphones
SO! Screencap of Paul and Majlak, IMPAULSIVE EP. 418

Impaulsive, rather, serves as a venue for Paul and Majlak to have informal, free-wheeling conversations with their guests – which have included fellow wrestlers, sports stars, internet personalities, rappers, pastors, and even Chris Hansen – on a range of other topics of interest to the hosts. If there is a throughline in all of this (aside from Paul and Majlak’s interest in how guests navigate their social media presence), it is certainly the relationship between the two co-hosts, their similar immature (we might more charitably say “goofy”) sense of humor, their mutual interest in combat sports, and their past history of online and offline hijinks all providing the basic framework for much of their conversation. It also gives Impaulsive listeners a sense of intimate connection with the pair, a sense that they are in the room as a silent participant in the hang.

And Paul has had a decade’s worth of experience in making comedic content. Having first earned a following by posting short videos on Vine as a college freshman in 2013, he dropped out of school and moved to Los Angeles to pursue a full-time career as a social media content creator. Fortunately for him, the gambit worked, and his content was soon reaching hundreds of thousands of followers across Twitter, Instagram, and Facebook in addition to Vine, and a compilation of his videos posted to YouTube amassed more than 4 million viewers in its first week. A number of TV and movie appearances followed, and in 2018, Paul began what would eventually become a professional boxing career with a white-collar match against the British influencer KSI.

Blonde white male teenager holding a blue and white bullhorn
SO! Screencap of Logan Paul Vine Comp 1

Paul’s rise to notoriety wasn’t unmarked by controversy, however. In late December 2017, at a time when he had something like 15 million YouTube subscribers, Paul earned widespread condemnation for his insensitivity after he posted a video to the site showing the body of an apparent suicide victim in Japan’s infamous Aokigahara Forest, and making light of the situation. As a result of the backlash on social media – which included a Change.org petition urging YouTube to deplatform the creator that garnered over 700,000 signatures – Paul removed the video and issued an apology for his actions (this apology was itself criticized for being disingenuous and self-serving, and Paul was later compelled to issue another). For their part, YouTube took disciplinary measures against Paul, which included removing the creator’s channel from the Google Preferred advertising program, and removing him from the YouTube Red series Foursome, among other things.

But that wasn’t all. About a month later, YouTube announced that it would temporarily suspend advertisements on Paul’s channels (the revenue was estimated to be about a million dollars per month) due to a “recent pattern of behavior,” which, in addition to the Aokigahara Forest controversy, now included a tweet in which he claimed that he would swallow one Tide Pod for every retweet he received, and a video in which he tasered a dead rat. The suspension seemed to be little more than a slap on the wrist, however, and two weeks later, in late February of 2018, ads were restored on Paul’s channels.

The controversies continued after the launch of Impaulsive in November 2018. In an episode released the following January, as Paul and Majlak and their guest, Kelvin Peña (aka “Brother Nature”) were discussing their resolutions to have a “sober, vegan January” followed by a “Fatal February” (vodka and steaks), Paul chimed in and suggested that he and Majlak might do a “male only March.” “We’re going to go gay for just one month,” he announced. “For one month, and then swing … and then go back,” Majlak concurred. The implication that being gay was a choice drew sharp criticism online, including a tweet from the LGBTQ+ organization GLAAD, which pointed out, “That’s not how it works @LoganPaul.”

We could continue. But it’s also worth mentioning that in early 2019, Paul underwent a brain scan administered by Dr. Daniel G. Amen, which revealed that a history of repetitive head trauma from playing football in high school had damaged the part of his brain that is responsible for focus, planning, and empathy. Such a revelation may explain some of Paul’s poor decision-making. But it has also been suggested that this may be an excuse for the creator to not own up to his shortcomings. And the diagnosis hardly stopped him from starting a boxing career, which he freely admitted “is a sport that goes hand-to-hand with brain damage.”

But even while Paul’s head injuries may have, to some extent, affected his ability to form human connections, it hasn’t completely severed the possibility. On Impaulisve, Paul often shows a genuine curiosity about his guests, a desire to understand their perspectives, and displays a sense of esteem for those, like the WWE superstars Randy Orton and John Cena, whom he knows personally and professionally outside of the context of the podcast. Even amid the raucous Morning Zoo atmosphere of the show, Paul’s tone when speaking to his guests is usually deferential and flattering, and creates a space not only for sharing intimate revelations about, say, the challenges creators face while living so much of their lives in public (a common topic), but also allows guests an opportunity to present themselves and their work in the best possible light.

SO! Screencap of IMPAULSIVE EP. 407 with (l-r) John Cena, Logan Paul, and Mike Majlak

This kind of dynamic was at play during the Donald Trump interview, in which Paul and Majlak offered the former president plenty of opportunities to boast about the historic accomplishments of his first term and of his 2024 campaign, and to air his many grievances – against Joe Biden, the media, the Democratic Party, and the lawyers prosecuting the many cases against him. Impaulsive, in other words, became a platform for Trump to remediate his typical campaign rhetoric, a means of delivering familiar content in a way that privileged quiet intimacy rather than grandstanding performances.   

This sense of intimacy derived, in large part, from the setting in which the episode was recorded: Paul and Majlak were sat close to Trump in a wood-paneled room at his Mar-a-Lago estate. But it also stemmed from the kinds of questions that the co-hosts asked Trump. At one point in particular, the conversation turned, as it often does on Impaulsive, to combat sports, and to Trump’s love of the UFC. Opening up on this non-political and heavily masculinized subject – and casually mentioning the cheers he receives when he attends UFC events in person – likely increased the former president’s appeal among Impaulisve listeners, who, according to Paul and Majlak, are mostly wrestling and UFC fans themselves. 

SO! Screen Capture of IMPAULSIVE EP. 418

Other questions about combat sports – like whether Paul’s brother Jake could win an upcoming fight with Mike Tyson – further cemented the sense that Trump was a fan among fans, and thus created conditions for what podcast researcher Alyn Euritt calls “recognition,” moments in which listeners may feel a sense of intimate connection with a speaker/host and with the larger listening audience.

But what stuck out to me when listening to the episode and thinking about intimacy and podcasting, was the way in which the calm and deliberate pacing of the conversation, with help from the co-host’s gentle guidance, largely prevented the former president from straying into the kind of stream-of-consciousness delivery that characterizes much of his public discourse, and which has come to be known as the Trump “weave.” Kept on course by a friendly interlocutor pitching softball questions, Trump can sound lucid, even rational – and one can see how, in listening to this, his supporters, and even those apolitical listeners in the Impaulsive audience, can get swept up and taken along for the ride.

This is perhaps true for those moments, which occur often, where Trump touts his own successes and popularity. At the beginning of the episode, for instance, after Trump gave Paul a shirt emblazoned with his famous mugshot (which Paul called “gangster” and said “it happened, and might as well monetize it”), the former president launched into a string of familiar complaints about how his prosecution in that case had been an “unfair” miscarriage of justice, and how it had nevertheless resulted in a fundraising boon for his campaign. “I don’t think there’s ever been that much money raised that quickly,” he declared. Uncritically accepted by the co-hosts – and even encouraged by their muffled chortling – such defiant but matter-of-fact posturing may have seemed reasonable to Impaulsive listeners, an understandable response to what was presented as a blatant act of political persecution.

But the apparent honesty and reasonableness of Trump’s views even seemed to extend to his inevitable criticisms of Joe Biden and the American news media, criticisms which were likewise encouraged by Paul and Majlak’s laughter. When Majlak, for instance, asked Trump whether he was “starting to come around or soften your views on some of the networks that you may have not gotten along with in the past?” Trump’s blunt response, “no, they’re fake news,” was met with legitimating chuckles, and with Paul’s concurring statement, “yeah, fake news.” It was Trump’s follow-up, however, in which he put special emphasis on his May 2023 town hall with CNN’s Kaitlan Collins, that he elaborated his position, revealing that though he had thought the network had turned a corner in terms of its friendliness, or at least neutrality, toward him, they were instead “playing hardball.” Delivered almost in a tone of resignation, Trump seemed to give the impression that his poor (in his eyes) treatment by the press was a given, that their hostility, though unfair, was something that simply had to be endured. Again, this explanation, communicated in such an intimate conversational setting, seemed to suggest a cool and reasonable assessment of the situation and prepared listeners to later accept his more extreme view, expressed less than a minute later, that CNN was “the enemy.”

Overall, then, the episode, which ended with Paul, Majlak, and Trump filming a TikTok video in which the podcaster and presidential candidate squared off face-to-face as if shooting a fight promo, offered Trump a platform to connect with other combat sports fans, to burnish his reputation for authenticity, and to legitimize his many grievances. And while the number of new MAGA converts his appearance earned is an open question, what is clear is that Impaulsive afforded Trump an opportunity to directly speak to a demographic that was increasingly important to both campaigns.  

Series Icon Image Adapted from Flickr User loSonoUnaFotoCamera CC BY-SA 2.0

Featured Image: Paul making his entrance as the WWE United States Champion at WrestleMania XL, CC BY-SA 2.0

Andrew J. Salvati is an adjunct professor in the Media and Communications program at Drew University, where he teaches courses on podcasting and television studies. His research interests include media and cultural memory, television history, and mediated masculinity. He is the co-founder and occasional co-host of Inside the Box: The TV History Podcast, and Drew Archives in 10.

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Mediated Sexuality in ASMR Videos

“Why does it feel so good when someone else is touching you?” she asks, fluttering her fingers up her forearm in demonstration. The cheerful blond woman smiles brightly. “Is it because of the physical contact itself? Or is there something else going on?”

This YouTube celebrity is Olivia Kissper, and she is about to demonstrate 40 different sounds that act as “triggers” for ASMR, or Autonomous Sensory Meridian Response. ASMR is a term coined by the community of internet users who experience a particular tingling sensation in response to certain auditory, visual, or haptic stimuli. The sensation often originates in the scalp and travels down the spine and is reported to be immensely pleasurable, as well as relaxing. “ASMRtists” now flood YouTube with a steady stream of high definition videos designed to trigger this sensation for viewers, either by whispering or making other sounds with the mouth, by tapping, crinkling, or scratching various household objects, or through role-play scenarios (which often incorporate some or all of the above). In answer to Olivia’s question, I suggest that ASMR “feels so good” because the technology affords listener-viewers the opportunity to imagine alternative sexualities outside of the dominant Western paradigm of heterosexual, two-bodied, genital, orgasmic, reproductive intercourse.

However, the online ASMR community vehemently asserts that there is nothing sexual about ASMR. Of course, that is not to say that NSFW ASMR doesn’t have a strong following on Reddit, or that there haven’t been strident debates on the topic (such as the one sparked by comedian Russell Brand earlier this year). But it does mean that the vocal majority of ASMRtists and their listeners perceive this experience as intensely pleasurable, yet outside the regime of sexuality. It seems that positioning ASMR as distinct from sexual fetishes is an effort to destigmatize what may otherwise be viewed as deviant or unhealthy sexual behavior.

The problem at hand, then, is not that ASMR may in fact be sexual, but that pervasive definitions of sexuality pertain to very narrow set of actions and gestures among a very narrow set of bodies and pertaining to a very narrow set of moralistic qualities. I argue that ASMR videos broaden the scope of what we understand as “sexuality” and provide a means for bodies to gain access to certain other bodies in particular ways, and thus serve as an outlet for people to enjoy those (sexual) pleasures alongside of what is deemed appropriate in the mainstream. By analyzing this video phenomenon, specifically through the videos of ASMRtist Olivia Kissper, I consider what is “real” about this mediated intimacy, and how this mediated intimacy can help us to reimagine sexuality.

Pleasure 

If ASMR is described by those who experience it as intensely pleasurable and relaxing, and if ASMRtists craft their videos with the deliberate intention of producing this automatic, visceral, pleasurable sensation, then it is indisputable that ASMR is, above all, concerned with the production of pleasure. In this way, it is not difficult to note the parallels between ASMR videos and pornography—another “body genre” (to borrow the term from Linda Williams) that employs genre-specific techniques with the intention of producing an automatic, visceral, pleasurable sensation in the viewer. Bearing this in mind, it should not be overlooked that most of the bodies interacting with the objects in these videos are young, conventionally attractive, white women. As art historian Joceline Andersen notes, ASMR often “relies on the heteronormative gender roles of care” (685). In other words, the popularity of an ASMRtist (with few exceptions) seems to be directly related to her sexual appeal and the degree to which she upholds Western standards of beauty.

Despite the fact that these videos may not be pornographic in the traditional sense, they are certainly sensual, if not sexual. This is exemplified by the way in which these ASMRtists attempt to evoke the sensation of contact with the viewer. ASMR is triggered not only by sound, but also by touch, and many ASMRtists strive to create perfect illusions of tactile sensation through the expert manipulation of visual and aural components. These are the kinds of videos that Olivia Kissper produces most often, such as “This FEELS SO REAL! Binaural ASMR SCALP MASSAGE with head massager, cicadas & WHISPERING.”

The tabloid-headline-esque style of the video’s title exemplifies the common practice of wordy titles for ASMR videos, so that viewers can tell at a glance if the video contains the specific triggers they are looking for, in this case tactile role-play and the auditory triggers of whispering and binaural recording. The quality of ASMR videos has steadily improved over the last couple of years, and most successful ASMRtists use high definition binaural microphones that record from two different “ear” locations, so that when the listener uses headphones, it produces the immersive effect of “3D” sound.

At the beginning of this video, Olivia asks, “are you ready for the most blissful experience?” then leans in close to whisper: “Are you ready to treat your senses a little bit today?” She speaks very softly and slowly, her voice intonated by her Czech accent. She punctuates her speech with graceful, twirling hand movements, and she shows off her long fingers and perfectly groomed fingernails as she displays the head massager and taps on the different materials it is made of in order to display its texture.

As a rule, ASMR videos deliberately engage with texture: if not of objects, then of the voice and the mouth, sibilance and saliva amplified sensuously through binaural recording. ASMR, then, is exemplary of Eve Kosofsky Sedgwick’s claim in Touching Feeling that, “what [texture and affect] have in common is that at whatever scale they are attended to, both are irreducibly phenomenological” (21). Here, the pleasurable affect manifests in the phenomenological tingles across the listener-viewer’s skin as Olivia taps her fingers along “your” hairline, runs her fingers through your hair, massages your scalp with her fingertips, and pushes the tines of the wire head massager down your head. If all goes well, you will feel like Kissper really is touching, stroking, and caressing you, and the experience will trigger “the tingles.” Performances such as Kissper’s produce the sensation of proximity, and are able to do so specifically through the digital technology that allows for the perfect storm of amplified aural, visual, and haptic stimulation. Here, the ASMRtist’s performance evinces the sensation of proximity and even direct contact with another body. As sound studies scholar Joshua Hudelson has described, in ASMR media, “sound is transduced into touch, and the taut membranes of the listener’s headphones become coterminous with his own skin.” The pleasure of these role-play videos derives not only from the physiological response to the mediated contact, but from the “personal attention” trigger (one of the top five most popular ASMR triggers according to a recent survey), as established through the use of second-person address. The demand for this element of intimacy is also growing in porn, according to Ela Darling, whose new website vrtube.xxx (NSFW) features virtual, one-on-one 3D cam sessions.

Intimacy

Mediated intimacy is at play in all ASMR videos, in the sense that they are produced for personal use. ASMR videos that use binaural recording techniques must be listened to with headphones, which means that each individual among the hundreds of thousands of viewers of these performances experiences an intimate encounter with the ASMRtist. But that intimacy is turned up even higher in role-play scenarios, as in one of Olivia’s earliest videos, “❀ Whispering, HAIR BRUSHING, Braiding & card reading ASMR ❀.”

This video takes place in a softly lit bedroom, with eye level low enough to suggest that the viewer-listener is sitting on the bed. Olivia is dressed casually in a plaid shirt, which is, not incidentally, unbuttoned rather low. She begins the video by addressing the viewer-listener directly as “friend,” and providing some expository dialogue indicating that the relationship is one of good friends who have not seen each other for a long time. She tells the viewer-listener she wants to braid her hair, but before she does that, she wants to:

start with acknowledging you because I’ve realized recently that I don’t tell you certain things and I just don’t want to put it off anymore. And I’m gonna whisper it to you, um, because it is really important for me that you really get that, yeah?

However, despite the platonic relationship established in the expository introduction, the boundary-crossing proximity of Olivia’s neck and hair in the viewer-listener’s field of vision erotically charges the banal acknowledgements she whispers.

Image by Bill Strain @Flickr CC BY.

Image by Bill Strain @Flickr CC BY.

It is clear that the intimacy that I experienced with Olivia is mediated—the hair she is braiding is not my own, for example, I cannot actually touch the objects she offers me, nor would she recognize me if I met her walking down the street—but does mediation necessarily imply inauthenticity? If intimacy is affective (pleasurable) and phenomenological (tingly), then doesn’t my experience with the mediated Olivia count as “real” intimacy? Dominic Pettman has suggested that love itself is a technology in “Love in the Time of Tamagotchi,” and points to the fact that intimacy is often done better through digital simulation:

[W]ith the current technology, simultaneous eye-contact is not possible. […] The video-chatter has the choice of staring at the image of their interlocutor, or straight into the camera, but not both at the same time. […] In 2012, simulated avatars already have an advantage over other humans on video-chat, since they can better simulate such a vital interactional presence, precisely by better simulating this eye-to-eye event (110).

Although Pettman provides the example of a digital avatar in a game, I think the same could be said of ASMR videos, and that Olivia’s eye contact is equally effective and affective. Olivia herself believes this to be true, asserting on her personal website that, “Because of our emphatic [sic] human connection and mirror neurons, our brain cannot tell the difference between a face-to-face interaction and online roleplay.”

Care

The authenticity of the encounter between the ASMRtist and her listener-viewer is paramount in Olivia’s work, especially when it comes to the concept of healing. It is no coincidence that spa treatments and medical exams are two of the most popular genres of ASMR role-play: both appeal to the pleasure of being cared for. Indeed, for Olivia, her videos are not just about producing pleasure for her viewers, but about healing them. This has become more evident in her recent videos, which belie her interest in science fiction, Eastern medicine and spirituality, New Age and metaphysical therapies, and what she calls “transpersonal healing.” One of her more unique videos, “FUTURISTIC TINGLES! Binaural ASMR exam and transpersonal healing role play with binaural beats,” exemplifies this philosophy. “FUTURISTIC TINGLES!” is quite different from the typical ASMR video in that it is less about stimulating particular senses or simulating particular experiences, and much closer to the abstraction of meditation exercises. It is not realistic, nor is it trying to be. But it is still acutely concerned with the phenomenological effect on the listener-viewer’s body.

This unique video, replete with computerized special effects, opens with a quote that draws connections between the placebo effect and the role of “caring attention” in healing. The viewer-listener is then led through a complex scenario in which Olivia, as a virtual cyborg healer, examines them through their computer screen, and then leads them through a healing meditation involving trippy visual sequences and binaural beats intended to trigger different, relaxing brain wave states. While the medical tests conducted in the first half of the video set the scene (and appeal to popular tropes within the ASMR genre at large), the second half is intended to produce actual healing effects within the body, not just simulate them. Olivia’s point is not that alternative therapies such as binaural beats and ASMR could be supported by Western research if only the scientists would study them; on the contrary, her performances embrace the healing potential of those phenomena that cannot be substantiated by Western research.

But although Olivia advocates for the alternative healing qualities of ASMR, her most popular videos are still about spas and medical offices, not reiki, palm reading, or ayahuasca, although she does have videos on all of those topics. The reason these two scenarios—doctor’s offices and salons—are so much more popular than, say, scenes in which the viewer is ill or tired and being cared for by a lover or a parent is because we are more likely to already have access to those forms of intimacy in our day-to-day lives. But although our doctors and aestheticians may know our bodies more intimately than most people in our lives, they are still considered strangers, and interactions with them must therefore follow strict protocol, particularly regarding sexual encounter. We may not articulate the pleasures we enjoy at the doctor or the salon because sexuality is understood as necessarily genital, and definitively relegated to specific relationships only. Similar to Anderson’s point that ASMR videos are productive of a “queer intimacy” (697), this essay shows how ASMR videos exemplify that there are alternative pleasures in these caring intimacies, and provide an outlet for enjoying those intimacies alongside of what is deemed appropriate in the mainstream.

Conclusion

Bearing these three components of Olivia’s videos in mind—pleasure, intimacy, and care—what interests me about ASMR is that they really do touch us: the mediation of the digital recording allows the vibrations produced by Olivia’s vocal cords and finger nails to literally penetrate my ear and resonate within my body. In this way, the technological mediation of ASMR videos facilitates, rather than hinders, contact between the performer and the viewer-listener, a point that speaks to the appeal of ASMR role-play videos in particular. ASMR refers not just to “the tingles” but to the affective conglomeration of physiological tingles and psychical pleasure and relaxation, as produced by the touch of the ASMRtist. And similarly, as Teresa Brennan suggests in The Transmission of Affect, even my internal chemistry may literally be affected by “body movements and gestures, particularly through the imitation of rhythms (effected by sight, touch, and hearing)” (70). While the sexuality of this resonance is implied by the (problematically) gendered performances of ASMRtists such as Olivia Kissper, I suggest, somewhat provocatively, that ASMR is not just like sex, but is sex.

Image by Ron Wiecki @Flickr CC BY-NC-ND.

Image by Ron Wiecki @Flickr CC BY-NC-ND.

As “sex” is increasingly acknowledged as referring to a wide range of activities outside of penetrative, heterosexual, genital intercourse, it seems inevitable that its bounds will continue to expand, blur, and reconstitute themselves. Sexuality, therefore, should not be defined by the concrete gestures that constitute “sex” in a given time and place. Rather, sex could be understood as any embodied technique of pleasure, intimacy, and care, while sexuality could refer to an infinite scope of techniques within that category. In this way, by asking what sex does to the body rather than what it means for the subject, we may be able to cast aside sexuality’s moralistic conundrums and better attend to its affective aspects. What the current, dominant, Western definitions of sexuality often restrict, are the socially sanctioned opportunities for certain bodies to touch other bodies and, it follows, the ability to see the benefit of a multiplicity of intimacies. ASMR performances may be one means of transgressing the interdictions on when and how bodies may access one another, sowing the seeds for cultivating alternative, pleasurable, intimate, and caring modes of life.

Image “In the Pink” by Koppenbadger @Flickr CC BY-NC-ND.

Emma Leigh Waldron is a Ph.D. student in the Performance Studies Graduate Group at the University of California, Davis and a graduate of the MA Performance Research program at the University of Bristol. She is also Co-Editor-in-Chief at the online journal, Analog Game Studies.

Emma’s research focuses on affective communities that coalesce around intimate performances of touch. She is currently researching the mediated intimacy of ASMR videos on YouTube, and how sex is represented in larp (live-action role-playing games). She is especially interested in how definitions and manifestations of sexuality are negotiated, reified, and transformed through these practices. Her work lies at the intersection of performance studies and media studies, and questions the role of embodiment in sexuality, intimacy, and touch. Her work is informed by feminist theory, queer theory, affect studies, and phenomenology. You can find Emma online at www.emmaleighwaldron.com.

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Live Through This: Sonic Affect, Queerness, and the Trembling Body — Airek Beauchamp