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How I learned to stop worrying and love Amazon

The online retailer has reshaped bookselling since it entered the trade in 1995. But Amazon’s aggressive and “anti-competitive” tactics, especially for selling ebooks, are raising hackles in an industry under stress. What is the future of the book busines

Photo: Ralph D Fresco / Reuters

I have a confession. I like buying books online. From Amazon. Such an admission may seem unremarkable, indeed banal, to many book buyers, but offering it in the presence of book industry folk would be the equivalent of informing New Statesman readers that one admires Donald Rumsfeld or Rupert Murdoch. One cannot exaggerate the fear and loathing that Amazon inspires among publishers and rival booksellers. “I hate them,” one publisher who deals with Amazon regularly told me the other day, and many others have offered similar views – off the record, of course.

The story of contemporary publishing is largely that of what Amazon has done to it and of what it threatens – in publishers’ and booksellers’ nightmares – to do. It is the story of a huge contrast between the perceptions of readers, authors and Wall Street, and those of publishers and booksellers.

At first, in the 1990s, Amazon seemed cool – no doubt it still does to a good many people. There was romance in the company’s founder, Jeff Bezos, typing a business plan while his wife drove him in a Chevy from Texas to Seattle, and in his setting up a web retailer in a garage where the computers were powered by extension leads from the house. He was a geeky guy, with a weird, explosive, humourless laugh, but nevertheless came across as more personable than most executives.

In the book world, which Bezos had selected as the ideal entry point for his planned giant operation, Amazon’s cool image lasted only until the first of his company executives took the floor at an industry conference and spouted what was to become a familiar litany of unilluminating corporate jargon. Amazon, we realised, was remote and secretive. In a friendly industry, it had no interest in being collegiate. It played hardball. Fail to grant it the discounts it wanted, and it launched a battery of unpleasant correctives, chillingly outlined in Brad Stone’s recent book The Everything Store: Jeff Bezos and the Age of Amazon (Bantam Press). And, as we also learned, it was a tax avoider. (Amazon.co.uk accounts for its sales in Luxembourg.)

Worse, it appears to have ravaged the industry’s ecosystem. Because Bezos has so successfully trained investors to wait for returns, he has been able to offer loss-leading discounts beyond the scope of companies with the conventional imperatives of making profits. When Amazon arrived in the UK in October 1998, the leading specialist booksellers included the newly merged Waterstone’s (as it was then known) and Dillons (with 500 branches), Borders and Books Etc, Hammicks, James Thin and Ottakar’s. Now the only one left is Waterstones, with fewer than 300 branches – and recently it laid off 200 of its managers. There were 1,535 independent bookshops in the UK in 2008 and now there are 1,028. The rate of attrition in the United States has been similar.

The digital reading revolution, which Amazon kick-started by introducing the Kindle, has accelerated this process. Ebooks now account for a third of fiction sales in the UK, and by the end of 2014 the proportion will go up to half. These sales have mostly left terrestrial bookshops and gone to Amazon, whose Kindle has become the generic term for all e-reading devices. Furthermore, customers who have migrated to Amazon to buy ebooks there have bought more print books on the site, too. Amazon has at least 90 per cent of ebook sales in the UK. Overall, its UK book sales are worth roughly the same as the value of sales through all terrestrial bookshops put together.

Booksellers are crying foul. Tim Godfray, the chief executive of the Booksellers Association, has called for the Office of Fair Trading to re-examine Amazon’s dominance of the ebook market. Quoted in the Bookseller, he argued: “Booksellers are finding it impossible to compete against such a huge player that has such a stranglehold on the book market . . . Consumers are being left with a reduced choice of book suppliers and communities are losing their bookshops.”

To adapt the words of the sports commentator Chick Hearn, Godfray has two chances of getting what he wants: slim and none, and slim just left the building. It left when regulatory authorities on both sides of the Atlantic ruled against leading publishers in disputes over pricing policies that they had adopted, seemingly in an effort to curb Amazon’s discounting, following the opening of Apple’s iBookstore. All the evidence we have is that the authorities look benevolently on Amazon and its aggressive competitiveness over prices, and treat with hostility most attempts to blunt the retailer’s edge.

Digital publishing threatens to undermine their power. The first sign of danger, or confirmation of it, came when Amazon promoted its new Kindle device by pricing New York Times bestsellers at $9.99 – less, in most cases, than it was paying the publishers for each sale. Sure, Amazon was taking the hit; but what if it gained the power in the future to get publishers to lower their wholesale prices? At the same time, Amazon introduced Kindle Direct Publishing, encouraging many thousands of aspiring authors, by no means all of them talentless, to self-publish their work. Many did so at very low prices and some, trying to build an audience, gave their ebooks away.

It was horribly apparent to publishers that readers expected ebooks to be cheap. When the US publisher of a novel by Ken Follett tried to give the ebook roughly the same price as the hardback, readers bombarded Amazon with one-star reviews. Ebooks cost nothing to print and distribute, readers reckoned. Publishers would reply that most of their other costs remained the same, and that they had many additional costs, too: digitisation in various formats, software and hardware updates, constant monitoring of the internet for copyright infringements. Plus, they were still bringing out print editions. But this argument has not found a sympathetic audience.

The arrival of Apple as a seller of ebooks, following the launch of the iPad, seemed to offer a chance of alleviating the problem. Under the “wholesale model” by which publishers sold to Amazon, the US publisher of a potential New York Times bestseller put a price on the ebook of $25, sold it to Amazon for $12.50, and allowed Amazon to sell it for whatever price it liked.

However, Apple had sold everything on iTunes through an “agency model”: the manufacturer set the price, from which Apple took a 30 per cent cut. So now the publisher could ensure that the book sold at, say, $14.99, from which Apple took 30 per cent. Yes, the publisher, and the author – whom we shall discuss later – earned less (the publisher got $10.50), but it was worth taking the hit in order to preserve the perceived value of ebooks. Otherwise, Amazon would keep slashing prices until there was no publishing industry left. Publishers negotiated agency deals with Apple, and then some of them went to Amazon and insisted that Amazon switch to the agency model, too.

These deals looked highly suspicious to the US department of justice, which in 2012 sued five of the six biggest publishers in the country for collusion. The European Commission, too, investigated agency pricing in the European Economic Area. Offices were raided and computers seized. Unfortunately, the late Apple boss Steve Jobs aided the regulators’ case, telling his biographer Walter Isaacson in an unguarded moment: “We told the publishers, ‘We’ll go to the agency model, where you set the price, and we get our 30 per cent, and yes, the customer pays a little more, but that’s what you want anyway . . .’ They went to Amazon and said, ‘You’re going to sign an agency contract or we’re not going to give you the books.’”

This did not look good. In both the UK and the US, the big publishers – while furiously denying that they had done anything wrong – nevertheless reached settlements with the authorities, agreeing to renegotiate contracts; in the US, publishers have paid more than $160m (£98m) to consumers to make up for the higher prices charged while agency deals were in place. But Apple fought on, and lost. Passing judgment in July, Judge Denise Cote of the federal district court in Manhattan was scathing: “With Apple’s active encouragement and assistance, the Publisher Defendants agreed to work together to eliminate retail price competition and raise ebook prices, and again with Apple’s knowing and active participation, they brought their scheme to fruition . . . Through their conspiracy they forced Amazon (and other resellers) to relinquish retail pricing authority and then they raised retail ebook prices. Those higher prices were not the result of regular market forces but of a scheme in which Apple was a full participant.” Apple has lodged an appeal, bringing to mind again the phrase concerning slim and none.

Amazon, above the fray, was the victor in these cases, though in negotiating new contracts with publishers it does find itself landed with some restrictions on its ability to discount. While governments may amend the rules that allow Amazon to pay only minimal corporation tax, no authority is going to curb competitive aggression. The authorities are unconcerned about what share Amazon takes of the book market, provided book buyers continue to have choices. Those choices include bookstores at Apple and Google, which are unlikely to persuade anyone that they require protection from a predatory rival.

Of course, Tim Godfray was talking about protection not for the likes of Apple and Google, but for businesses that may achieve not even a six-figure turnover in a year. Independent bookshops were struggling before Amazon came along, however, in part because of their inability to compete with chains such as Waterstones, and in part because of trends – superstores, rates and rents, parking restrictions, and so on – which have been hostile to so many high-street businesses, and which prompted the government to call in the retail expert Mary Portas to see if she could conceive a plan to revitalise them. Chain booksellers were growing, but largely by opening branches and merging with each other. It was a bubble, and Amazon’s market share was still relatively modest when Waterstones and the book/stationery/enter­tainment retailer WHSmith became the only chains left standing.

The best bookshops have found ways to remain attractive. They stage readings and festivals. They incorporate coffee shops. They recommend distinctive titles that you don’t see on the front tables at Waterstones or Smith’s, or on the Amazon home page. Mr B’s in Bath offers “reading spas”: one-on-one chats in its “bibliotherapy room”. It has also commissioned bespoke editions of books. Daunt Books has its own small publishing operation, which has brought back into print the kinds of literature that a chain of shops in well-heeled areas of London can sell. In September, the Booksellers Association launched an initiative called Books Are My Bag, which consists of only a slogan and a supply of canvas bags, but which the BA hopes will gain enough currency – as “Go to work on an egg” once did – to promote the joys of browsing and buying in real bookshops.

That Amazon has taken business away from these shops – well, that’s competition, and, as we’ve seen, we are going to have to live with it. The other day, I decided I wanted to read John Mullan’s What Matters in Jane Austen?. I looked on Amazon and I looked on the rival ebookseller Kobo; Amazon’s price was £4.63 and Kobo’s was £7.07. I bought the Amazon Kindle edition, with a single click; when I switched on my tablet, my book was there. My nearest bookshop, a Waterstones, is a 20-minute bus ride away, and it is not always guaranteed to have the book I want. If it does, it may be selling it at the recommended retail price – £8.99, in this case.

Price and convenience point me towards Amazon. I enjoy reading ebooks, and if the print equivalents are bulky and have small type, I prefer to read them on a lightweight device with adjustable fonts. I love browsing in bookshops, but I love browsing online, too, and get a small thrill every time I make an order that enables an instant download or a posted parcel. Furthermore, Amazon’s service is superb. Its website is the best, its Kindle Paperwhite is by reputation the best e-reading device of its kind, and its prices are usually the lowest.

My point is that this is what the overwhelming majority of Amazon’s customers feel about the company. Yes, we disapprove of its tax avoidance, but we have learned that every multinational will behave in this way, given the opportunity. It is for governments to sort out. But giving publishers a hard time? Why should we care about that? And if we felt that Amazon did not deserve to take business from the terrestrial bookshops, we would click on those Buy buttons less frequently.

The consolidation of power in retailing is in part responsible for a consolidation of power in publishing. Penguin and Random House confirmed their merger this summer, creating the largest publisher in the world; industry insiders expect there to be further mergers at the top – Simon & Schuster and HarperCollins are names that are often put together. Penguin Random House, which is home to a significant number of the most celebrated authors in the English language, has clawed back some of the negotiating power that Amazon had assumed. The company also believes that, thanks to “efficiencies” (cost-cutting) in its merged operations, it will have more resources to put into the acquisition and promotion of books and into “discoverability”, a buzzword that has become an obsession as book buyers have moved online. How do you ensure that people see your books? Publishers are desperate to be the facilitators of this process. They do not want Amazon to control it.

In addition to the power of Amazon, they have three significant fears. The first is piracy. Once, pirating a book involved printing it. Now, all you have to do is copy a computer file and you have an edition that is no different from the authorised version. The pirates have created jobs in the book industry: the leading publishers employ people whose sole responsibility is to trawl the internet searching for illegal editions. Fear of piracy is responsible for digital rights management, the annoying code that prevents you from reading an Amazon ebook, say, on anything other than a Kindle-enabled device. It also lies behind publishers’ wariness about allowing their ebooks to be lent through libraries.

The new wave of digital entrepreneurs is, on the whole, sceptical about copyright, in a bedrock of industries ranging from publishing to football (think of the importance to football of TV and image rights income). Google, which no government can ignore, scanned millions of in-copyright books without bothering to ask the rights-holders’ permission. The British government is planning to introduce copyright exceptions following a 2012 report into intellectual property by a panel under the leadership of Professor Ian Hargreaves; its draft proposals have alarmed bodies including the Society of Authors and the Publishers Association. “Fair dealing”, which Google cites in its defence, may be fair to the people who want to use the material, but is less fair to those who created it.

However, publishers could relax a little. People want to get things for free or cheaply, but they are also happy to pay what they see as fair prices. Getting most of my books free when I was young did not dissuade me from becoming a book buyer, and listening to pirated music did not prevent my purchasing records. My daughters, who no doubt consume illegally shared material, spend fortunes through iTunes. When I began reporting on the book industry, Delia Smith featured in ubiquitous ads for book clubs that were offering her Complete Cookery Course for a nugatory sum. Yet the same book, at full price, appeared in the bestseller list week after week. Free or cheap does not necessarily undermine paid-for. Imagining an ideal world in which every consumer would pay a recommended price for every cultural item is futile.

The second significant fear, though, is the lowering of the recommended prices that consumers are prepared to pay. The average price paid for an ebook in the UK is about £3. The average price paid for a bestselling paperback novel is about £4.20, and the average price paid for a bestselling hardback novel is about £11. As ebooks take a larger share of the market, will publishers suffer a decline in revenues, and will they find, as booksellers did in the 1990s, that the only way they can grow is through mergers? Penguin Random may be an early symptom of such a trend.

The third fear is of becoming irrelevant. The rise of the publishing conglomerates has not been as hostile to independent houses as many had feared, partly because distribution has become more egalitarian (smaller houses have more chance of getting their authors discovered now, through Amazon and other sites, than when their only way of selling was by begging booksellers’ support) and partly because there are so many successful titles that the conglomerates miss or never see. But all publishers must be aware that authors have what appears to be the increasingly viable choice of self-publishing. Since internet distribution has vastly reduced the cost and difficulty of getting a manuscript into book form, self-publishing has lost its reputation as exclusively the last resort of the hopeless and deluded. Every week, it seems, one reads a story of an unknown author who has sold tens of thousands of copies of his or her self-published books, particularly through Amazon. Amanda Hocking, an author of paranormal romances, earned $2.5m from Amazon sales in under two years; even more famously, E L James first published online the story that became the Fifty Shades of Grey trilogy.

Publishers hope that the self-publishing world can become a training ground for writers, and last year Penguin’s parent company bought Author Solutions, the world’s largest self-publishing service (which at that point had a mixed reputation). Hocking and James went on to sign conventional publishing deals. Yet some self-publishers have not, while others have signed print book deals but retained their ebook rights. Few authors can have failed to notice that self-publishing offers higher royalties. Kindle Direct Publishing can pay up to 70 per cent of the returns from sales, and offers at least 35 per cent. Until recently, publishers were distributing to authors just 15 per cent of the returns; only under pressure, and not universally, have they raised these royalty rates to 25 per cent.

While publishers may have good arguments to explain why their royalties should remain at this level, they have not succeeded in making their case to authors and agents. At present, most authors crave the imprimatur, the editorial expertise, the marketing and the distribution that established imprints can provide. But publishers’ claims that they “add value” to the publishing process – value that self-publishing services cannot replicate – are not as incontrovertible as they once seemed.

In the ways described, the disruption that Amazon has caused the book industry has been welcome for readers and authors. Culturally, the picture is more confused. Some authors who might never have seen their books in print a few years ago have thrived through self-publishing, but others – who enjoyed a brief period when advances rose, as the big publishers grew bigger and the book chains expanded – are in trouble. They can no longer afford to spend a year or longer writing books, because no one will pay them to do so. Fashions are changing quickly, and many authors who were under contract a few years ago can no longer get their manuscripts accepted.

It is a harsh world, but whether it is barbaric, as some disillusioned authors believe, is debatable. Pitifully low sales of literary fiction are not a new phenomenon: George Orwell’s early novels sold only a few hundred copies each. When one reads of the long exile from print of Barbara Pym in the 1960s and 1970s after Tom Maschler at Jonathan Cape had decided that her novels were hopelessly old-fashioned, one recognises a story with contemporary resonances. It is very hard to determine whether an industry that produces more than 100,000 titles a year is lowering its standards. Regular reading of the literary pages, and scanning of book-prize shortlists, suggests that there remains plenty of quality about. I once heard someone say that Paul McCartney, an acquaintance of his, was “as nice as you’d expect him to be”. Amazon is certainly no nicer than you would expect a Wall Street-quoted giant with a market capitalisation of $135bn to be. But I don’t feel guilty about being its customer.

Nicholas Clee, a former editor of the Bookseller magazine, is the joint editor of BookBrunch, a book industry news service

Nicholas Clee, the NS food columnist, is the author of Don’t Sweat the Aubergine: What Works in the Kitchen and Why (Short Books). He is a former editor of The Bookseller, and writes about books for papers including the Times, Guardian, and Times Literary Supplement.
Mike Lombardo via @moreMiLo
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“I was almost brainwashed by him”: How male YouTubers get away with preying on young fans

A multitude of YouTube stars have been accused of taking advantage of young fans, but little is being done to tackle the problem.

In June, a 24-year-old YouTuber named Austin Jones was charged with two counts of producing images of child abuse. Court documents allege that the internet personality – who has more than half a million subscribers to his YouTube channel – solicited explicit videos from two of his young female fans. According to the criminal complaint, Jones asked one of the teenage girls – known only as Victim B – to dance for him, and said: “Bounce again and smile at the camera while you bounce. And while you bounce, say ‘I’m only 14’ 3 times throughout the video.” Jones has been released on bail and is awaiting trial. Jones’ attorney Gerardo Solon Gutierrez points out that the singer is “innocent until proven guilty”.

A few weeks later, a YouTuber known as Durte Dom was accused of filming a 15-year-old girl from behind while she danced at a party, without her consent. “He filmed my ass dancing,” the girl wrote anonymously on Twitter. Dom responded to the allegations via the social network, writing: “the party was 18+, the girl snuck in. don't fool yourself.” He says he will now “start having people sign release forms” before he films them.

These allegations are not isolated. In 2014, a Tumblr user called Olga accused the YouTuber Tom Milsom of coercing her into sexual activities when she was 15 and he was 21. Milsom did not comment publicly on the accusations and was never charged. Only a month earlier, a YouTube musician, Mike Lombardo, was jailed for five years on child pornography charges after soliciting explicit photographs and videos from 11 of his underage fans. 

These events set off a series of other allegations. Vlogger Alex Day admitted to having “manipulative relationships with women” after 14 women and teenage girls accused him of manipulation and abuse. One anonymous 15-year-old wrote on Tumblr that Day had sex with her knowing she was underage and “didn’t listen to me when I asked to stop”. Day denied any sexual relations with underage girls, and none of his alleged victims pressed charges. Another YouTuber, Ed Blann, admitted in a now-deleted Tumblr post that he “manipulated” an of-age fan into sex even after he was “repeatedly told to stop”. Like Day, Blann never faced any charges, but, also like Day, he apologised for his actions.  

 In September 2014, a 19-year-old woman accused the YouTube prankster Sam Pepper of raping her, and another woman filed a police report accusing him of rape. Pepper denied the accusations, was never arrested and charges were never filed. He did, however, apologise for YouTube pranks that included pinching women’s behinds while wearing a fake hand.

A Tumblr post set up to track emotional and sexual abuse in the YouTube community to date features allegations against 43 YouTubers.

***

Social media revolutionised the concept of celebrity – and celebrity-fan interactions. YouTubers are both incredibly adored and incredibly accessible. Products they design sell out overnight and their live events fill arenas. At the same time, fans are often just a few clicks away from engaging in private, one-on-one conversations with their heroes.

“I feel like I was kind of blinded to the whole situation, like I was almost brainwashed by him,” says Ashley LaPrade, a 16-year-old who claims that when she was 15, Austin Jones coerced her into creating sexualised videos on the messaging app Kik. She posted screenshots of their conversations on social media after the news of Jones’s arrest broke.

“It was kind of casual at first and he asked me to model his merchandise for him... so I did. I took a couple pictures and I’m a gymnast so I was trying to like impress him and I did like splits and stuff,” she says. She alleges that Jones asked her to film herself from behind while bending down or dancing. “I didn't want to upset him and make him not like me,” she says.

LaPrade explains that as a young 15-year-old fan she “looked up” to Jones and was initially excited by his interest in her. After she began to feel uncomfortable with his requests, they stopped talking, but she continued to listen to his music and go to his concerts. She says that she only realised the severity of his actions after his arrest.

Many young fans like Ashley are initially unable to comprehend that anything wrong – legally or morally – has happened to them. Neesey Pathan is a 20-year-old student and YouTuber who claims she was sexually harassed by Sam Pepper when she was 15. In 2014, she posted a YouTube video of her allegations, showing screenshots of alleged conversations with Pepper in which he asks her to “do a naked a dance” and show him her cleavage.

“As a young naïve 15-year old girl, I just wanted to keep talking to him because I was a huge fan,” Neesey tells me. “When he started to get inappropriate with me, at the time that made me feel uncomfortable but I didn’t understand how serious that was, because of how young I was.

“I wanted him to stop being inappropriate with me but I didn't want him to stop speaking to me.”

***

Since the concept of celebrity was invented, nefarious individuals have used their fame to manipulate and take sexual advantage of young fans. In the 1970s, Lori Mattix was a “baby groupie” to musicians – alleging in a Thrillist article that she lost her virginity to David Bowie aged just 14. When the guitarist Ted Nugent couldn’t legally marry 17-year-old Pele Massa, he became her guardian instead. Anna Garcia met Prince aged 15 and began a relationship with him aged 17. “I guess it’s kind of a dream to a young girl of 17,” she said in the Nineties. “You can be influenced very easily and stuff like that because he’s 12-13 years older than me.”

It now seems as though a slew of YouTubers have taken advantage of this imbalanced fan-creator relationship, and have deliberately exploited the naivety of their young fans. Ashley and Neesey both claim they were emotionally manipulated.

“I think I put him on this pedestal, which put him in a position to very easily manipulate me and get what he wanted,” says Neesey. “I was just so excited to get to speak to someone who I had looked up to for a long time.”

Ashley claims that when she wouldn’t film increasingly explicit videos for Jones, he treated her coldly. “He went on about how he was in a bad mood now and he didn’t want to talk any more,” she says. “If I did something wrong to him, like if I didn’t blow a kiss or something, then he would make me redo [the video].”

In 2015, Jones was first accused of asking his underage fans to film themselves twerking. In a video entitled “Setting The Record Straight”, he admitted to asking for the twerking videos and said he became suicidal after this news became public. “I’m a pretty insecure person... I began researching different suicide methods. I started planning my suicide. It’s something I was very, very serious about,” he says in the video. 

“A lot of times when we were talking he was talking about how he was going to therapy so I kind of felt bad for him and that’s why I didn't really say anything [to the authorities],” says Ashley.

The American National Domestic Violence Hotline outlines on its website that threatening suicide can be a form of emotional abuse. “If your partner regularly threatens suicide, particularly whenever you’re not doing something he or she wants you to do, or when you’re trying to leave the relationship... this is a form of emotional abuse.”

According to Neesey’s screenshots, Pepper flippantly mentioned he was “suicidal” when she refused to show him her breasts. In Olga’s blogpost about Tom Milsom, she alleges: “he’d like sob and cut himself in front of me he threatened weird suicidal shit a lot”.

“Obviously, if someone is saying to you that they're suicidal, you want to help them, because obviously they don't mean it but as a young person you think they do,” explains Neesey. “And you don't want to be held responsible for them hurting themselves and you maybe care about this person because you’ve been watching them for so long. So you’re manipulated into carrying on contact with them because if you don’t, what will happen...” 

***

To date, Lombardo is the only YouTuber who has ever been jailed for sexually abusing his fans. There are a multitude of reasons for this. Some victims are too afraid to press charges, fearing backlash from a YouTuber’s fandom. Many victims are unable to see the severity of their abuse until they are older. More still are manipulated into silence. Parents can’t comprehend YouTube stardom, and fail to understand what is happening in their children’s lives. Some victims simply don’t know which authorities to turn to.

“I'm kind of steaming about this whole issue,” says Michelle LaPrade, Ashley’s mother. “I can’t even look at a picture of the guy. It makes me want to punch him.”

At the time, Ashley never told her mother about Jones’s behaviour, but Michelle overheard conversations about it between her daughter and her friends. “I feel like a bad mother. I never even really investigated it. Because I know girls and their drama and you know, [they] overreact sometimes.”

After Jones’s arrest, Michelle wanted to report his interactions with Ashley to the authorities, but she found her local police department unhelpful. “I don't know who to turn to,” she says.

Many more victims are unaware that a crime has even occurred. “When I was 15 I didn't see how problematic it was,” says Neesey. “I knew it was a bit strange, and I did feel uncomfortable, but I didn't realise that he was actually sort of committing a crime in terms of asking a minor, as an adult, to do these things...

“It wouldn't even have crossed my mind to go to the police.”

While the UK has the large-scale Operation Yewtree into sexual abuse by celebrities, there is no equivalent for YouTube. Despite the multitude of allegations spanning half a decade, there is no single helpline or dedicated investigation into YouTube abuse. When questioned on this, a Home Office spokesperson said:

“We cannot allow social media platforms to be looked upon as a safe space for predators to target our children and share indecent images. It is vital that communication service providers have easily identifiable reporting systems for people to flag inappropriate or illegal content – and that they are clear about what is and isn’t allowed on their sites.”

A YouTube spokesperson said: “We have clear policies against harassment and we enforce these policies by removing both flagged content and comments that break our rules as well as terminating the accounts of repeat offenders.”

Sam Pepper is still on YouTube, where his channel has over two million subscribers. Alex Day returned to YouTube in December 2015, and now has over 80,000 subscribers. Austin Jones’s YouTube channel remains live, though he is not allowed to use social media before his trial.

***

“I feel like it is really hard to be taken seriously,” says Ashley. On social media, people are prone to victim-blaming Ashley and other alleged victims, saying that they should have stopped replying to the YouTubers harassing them. “Yeah, we did send stuff back but it was... we were being pressured into it and we didn't want to upset him or anything like that,” Ashley says. Her mother tells me she is glad Ashley “took the high ground” in not sending overtly sexual videos to Jones.

Unsure which authorities to speak to, many victims turn to social media to discuss their abuse. Accusations play out on Tumblr, Twitter and YouTube itself. Ashley tweeted screenshots of her interactions with Jones, while Neesey created two videos about her conversations with Pepper. Although this is an effective, and unprecedented, way for victims to get their voices heard, many online are distrustful of complaints that didn’t go through the authorities. Many more leave misogynistic and hateful comments.

“People will just be absolutely horrible to you and call you demeaning things... I got called a flirt, I got told it was all my fault because I continued speaking to him...” says Neesey, of the reaction to her videos. “I think that's a lot of the reason why people sometimes don’t come forward, because they don't want to go through all that stress again. They’ve already dealt with the situation; why would they want to deal with the stress of people being horrible to them about it?”

Some commenters criticise Neesey and other victims who have made YouTube videos and claim they were doing so for attention. “No one in their right mind would do it for attention because the attention you get is negative,” Neesey says. “I honestly don’t believe that someone would sit down and accuse someone of doing something if they didn’t mean it. So I really think it should be taken seriously.”

Whether it makes sense to those outside of the community or not, many victims' first recourse is social media, not the police or authorities. The accusations about Durte Dom – the YouTuber who allegedly filmed a 15-year-old dancing – were publicised by another YouTuber, Elijah Daniel, on his Twitter page.

Damon Fizzy is a YouTuber who called out Austin Jones after the initial accusations in 2015, and continues to do so on Twitter now. Although he agreed to speak with me, he was unable to find time to do so over a series of weeks.

For many YouTubers and their victims, social media is more important that the traditional media. Perhaps this makes sense – when the Mail Online covered the arrest of Lombardo, the YouTuber who solicited child abuse images from 11 underage fans, they added inverted commas around the word “star” in their headline. If the media and the authorities can’t take YouTube seriously, how seriously will they take accusations of YouTuber abuse?

***

In the past, YouTubers have often been good at self-policing. Hank and John Green are American brothers who run the YouTube channel Vlogbrothers, which has over three million subscribers. They own a record label, DFTBA, and run the annual YouTube convention VidCon. Lombardo and Day were DFTBA artists, and were dropped from the label after the accusations emerged. The Green brothers also banned Pepper from VidCon.

After the storm of accusations in 2014, an enormous number of popular YouTubers made videos in response. Hank Green explained consent to his audience, while the comedy YouTuber TomSka created a guide to YouTube gatherings. The popular YouTube duo Jack and Dean even made a music video about consent. The community came together to exile those who weren’t being punished in other ways. The subscriber numbers on the accused’s channels dropped dramatically.

Yet within a few months, many disgraced YouTubers can return to the platform to harness a new generation of fans, many of whom might not be aware of the accusations.

“YouTube still allows them to create content and make money off it, and that to me is just communicating that the behaviour is just not that bad. It’s sort of equivalent to a slap on the wrist and it doesn't convey the extremity of the situation of what they’ve done,” says Neesey. “I think they should be completely ostracised from the community, and have their status stripped from them, and I think YouTube should support that. Because they’re criminals.”

On Twitter, YouTuber Damon Fizzy claims he received backlash from Jones’s fans when trying to speak out years ago. “It’s crazy the backlash I received versus now. I was literally treated worse than the person who uses his underage fans for sexual gain,” he wrote.

And it’s true that YouTubers’ leagues of adoring fans can make it difficult to speak out about abuse. It is hard for many adults to understand how consuming being a young fan can be, particularly when manipulation is involved. When I ask both Ashley and Neesey what they would say to young female fans who start talking to YouTubers, they both say this is fine. Neesey warns that when a youngster becomes uncomfortable, they should end communication, but both she and Ashley feel that safe, normal fan-creator interaction is fine, indeed desirable.  

Sapphire Putt is a 20-year-old who claims a YouTuber coerced her into filming videos of herself dancing when she was 16. When I ask if she thinks it would be OK for the YouTuber to return to YouTube, she says she would be “cautious” but “wouldn’t throw the possibility of maybe giving him a chance again”.

“If he actually shows that he’s learned, you know, I would give it a chance and if he would mess it up again then that’s it, you know.”

When I ask Ashley what she would say to people who remain fans of Austin Jones she says: “I’d say that I probably understand... but they also need to understand that what he’s doing isn’t right and no one should be treated the way he is treating people.”

***

The NSPCC is currently calling for an independent regulator to scrutinise internet companies and fine them if they fail to keep children safe.

“We want the government to draw up a list of minimum standards that internet companies must observe to protect children, and children should be automatically offered safer accounts that protect them from grooming and harmful content,” an NSPCC spokesperson says.

“We know from our Childline service that online sexual exploitation is increasing so it’s vital that more is done to protect young people from abusers who use social media to target and manipulate them.”

For now, Ashley is simply glad things didn’t go further. “It's scary not knowing what could've happened, knowing that I was brainwashed like to believe it was OK, and I'm just happy he's not able to message other girls at this point,” she says.

Neesey hopes that schools will get better at teaching consent. “As a young person, I knew I felt a bit uncomfortable but I just thought that I was being dramatic... so I think people need to be educated, for sure.”  She says education needs to be improved not just in schools, but in the media.

“Unfortunately, people are sort of used to it now, after quite a few YouTubers, so it’s sort of like, ‘Oh another one.' People aren’t talking about it as much – not that it’s old news, but it’s not as shocking. People aren’t giving it as much attention as it needs.”

The NSPCC advises that if a child is worried about an online situation they should talk to a trusted adult or contact Childline on 0800 1111. Parents can find out more about talking to their child about staying safe online by searching Share Aware or visiting www.nspcc.org.uk

Amelia Tait is a technology and digital culture writer at the New Statesman.