Streampunks: YouTube and the Rebels Remaking Media – A Firsthand Look at the Streaming Business and Digital Entertainment Revolution

by Robert Kyncl, Maany Peyvan

An entertainment and tech insider—YouTube’s chief business officer—delivers the first detailed account of the rise of YouTube, the creative minds who have capitalized on it to become pop culture stars, and how streaming video is revolutionizing the media world.

In the past ten years, the internet video platform YouTube has changed media and entertainment as profoundly as the invention of film, radio, and television did, more than six decades earlier. Streampunks is a firsthand account of this upstart company, examining how it evolved and where it will take us next.

Sharing behind-the-scenes stories of YouTube’s most influential stars—Streampunks like Tyler Oakley, Lilly Singh, and Casey Neistat—and the dealmakers brokering the future of entertainment like Scooter Braun and Shane Smith, Robert Kyncl uses his experiences at three of the most innovative media companies, HBO, Netflix, and YouTube, to tell the story of streaming video and this modern pop culture juggernaut. Collaborating with Google speechwriter Maany Peyvan, Kyncl explains how the new rules of entertainment are being written and how and why the media landscape is radically changing, while giving aspiring Streampunks some necessary advice to launch their own new media careers.

Kyncl persuasively argues that, despite concerns about technology impoverishing artists or undermining artistic quality, the new media revolution is actually fueling a creative boom and leading to more compelling, diverse, and immersive content. Enlightening, surprising, and thoroughly entertaining, Streampunks is a revelatory ride through the new media rebellion that is reshaping our world.

Genres: Nonfiction, Business, Audiobook, Technology

263 pages, Kindle Edition

Published September 5, 2017

Reviews

[Steve Wilcockson · Rating 2 out of 5]

While the concept of the book is there to celebrate the rise of YouTubers and digital video medium and trying to put the content created on the same level as all other media, such as movies, TV and traditional news programming the book falls down by coming across too much like a corporate brochure to promote Youtube.

The stories of all the new moguls obsess over their gain in wealth and stature. The casual mentions of designer brands and watches being worn by the interviewees show the book to be little more than claiming Youtube is the best and most accessible way of achieving the American Dream. A little talent, some sacrifice and a lot of hard work can garner all the wealth, influence and excesses your heart desires.

All the while brushing over all the negative elements of what Youtube has brought (right-wing videos, people abusing their celebrity as well as a significant influence on the increase of online trolling).

If the book had been written by someone not directly related to Youtube this could have been a more interesting, better textured and a less grating read, sadly the constant cheerleading4g for the video sharing platform drags the book down and presents a bland procession of good luck stories.

[Erik Surewaard · Rating 4 out of 5]

This is NOT a book on the history of YouTube. It instead descirbes several topics that are relevant for Youtube its current positioning. It includes discussions on e.g. its revenue model, its function as a music platform, ...

It would have been better in case the content would have been structured in more defined topics. Currently, it is not a coherent story in my opinion - it jumps all around.

Very nice read though if you want to get an idea of youtube as it stands today.

[Nicole · Rating 5 out of 5]

I would highly recommend this book to anyone who has even the slightest interest in YouTube, from its beginnings, to its growth, to its creators, and to the way it has radically changed media delivery and consumption. YouTube CBO Robert Kyncl’s perspective as someone who has been in the video landscape for years is really valuable to this book, and his completely honest account of YouTube’s accomplishments, shortcomings, and goals is a really enjoyable and interesting read.

[Olivia Ambrose · Rating 5 out of 5]

I spend a lot of time on YouTube. I'm a long-time Nerdfighter, loyal Theorist, and devoted member of many other online communities. So for me, this book written by the Chief Business Officer at YouTube was really fascinating. It looks at the careers of YouTubers and the way that they and YouTube in general are changing the world and the way we view media. Well worth a read for anyone who watches a lot of YouTube - and perhaps even more so if you don't.

[Meagan]

This is one of those biased primary sources they warn you about in history class.

[Vui Lên · Rating 4 out of 5]

3.75

Một cuốn sách thú vị về câu chuyện của những youtuber nổi tiếng.

Youtube đã và đang thay đổi hoàn toàn cách mà truyền thông hoạt động. Với một chiếc smartphone + tài năng + kiên trì. Nhiều cá nhân giờ đây đã trở thành người ảnh hưởng và thay đổi cuộc chơi của nhiều lĩnh vực như sáng tạo, nội dung số và truyền thông.

Nhiều câu chuyện trong sách sẽ giúp bạn vững vàng hơn trong con đường làm Youtube của mình. Sách cũng đặc biệt phù hợp với những bạn đang làm marketing/communication.

Tác giả viết còn hơi rối nên sách chỉ dừng lại ở cung cấp thông tin, chưa giúp người đọc có những góc nhìn sâu sắc về những mặt trái của việc làm Youtuber.

[Megan Staunton · Rating 4 out of 5]

Really enjoyed reading this book - as a large consumer of YouTube content I found the stories interesting and relatable. I’m excited to see how YouTube continues to evolve in shaping the future of media.

[Melody · Rating 4 out of 5]

I picked this up on a whim and have loved it. I tend to like business books where they converge with new media and marketing and/or larger social trends. This really hits everything. It's fascinating because I have very much grown up with YouTube (I remember how much easier it made watching Buffy fanvids after its launch). I originally was a telecommunications major in college, largely because I loved and was inspired by what I saw people doing on YouTube. I created videos for my classmates in high school and was able to easily host and share them. But I still wasn't completely aware of all the intricacies.

This book helped catch me up on a medium I may have gotten out of the loop a bit on in the last 5 years or so---and oh how quickly things can change. When I was a college freshman in 2009 we were talking about the rise of media personalization and how it was going to change the game. And now look at us.

[Fred Cheyunski · Rating 4 out of 5]

Video Unbound - Continuing my effort to better understand streaming and its reshaping of the media landscape, I turned to “Streampunks.” Robert Kyncl, formerly at Netflix and later a senior YouTube executive (assisted by Maany Peyvan), offers an insider’s account of how YouTube transformed from a video-sharing site into a global platform fueling a new class of creators. While the book is understandably celebratory and sometimes light on criticism, it provides useful insight into how streaming disrupted legacy media and reconfigured attention, monetization, and celebrity.

The book spans eighteen chapters, profiling creators, and tracing structural shifts in media economics—from “Broadcast Yourself” to today’s algorithmically tailored “Channel Yourself” (p. 105). Kyncl opens by noting that 1.5 billion people were visiting YouTube monthly (p. xi), drawn not to traditional stars but to what he calls “streampunks”—creators who built audiences outside the old mogul-dominated system (pp. xi–xii). Where television once depended on scarce shelf space and consolidated ownership (pp. 11–16), the Internet introduced effectively infinite distribution. As Smith and Telang argue in “Streaming, Sharing, Stealing” (see my review), when supply constraints vanish, consumption rises—but shared experience fragments (p. 25). For more recent examples, note the authors’ allusions related to “The Daily Show” (see my review of Smith & Stewart’s book) and what is happening now regarding late night television programs.

Several chapters stand out. Chapter 9 on revenue streams explains how creators combine advertising, Patreon-style patronage (p. 143), merchandise, touring, and brand partnerships (pp. 146–147). The analysis complements Pulizzi’s “Content Inc.” (see my review), particularly the Missouri Star Quilt Company example (p. 94), illustrating how niche passion plus consistent content can build thriving small-business media enterprises (p. 144). Chapter 12’s discussion of the music industry is especially prescient. Kyncl argues that streaming, subscriptions, and digital advertising would restore growth to an industry damaged by piracy (pp. 231–233). His optimism foreshadowed his later move to head Warner Music. In this respect, the book aligns closely with Smith and Telang’s data-driven assessment of digital distribution.

Chapter 13 addresses generational change, noting that 40 percent of teens felt YouTubers understood them better than friends or family (pp. 7–8). This shift toward authenticity—creators who feel “less polished” and more relatable (pp. 49–52)—helps explain YouTube’s cultural power. Educational content, largely marginal on television, thrives on-demand in shorter formats (p. 108), as seen in channels like “Minute Physics” (p. 26). The smartphone’s rise further individualized viewing, making subscriptions and mobile consumption dominant models (pp. 149–150).

The book also highlights the central competition for attention: “It is only with attention that You Tube can be monetized” (p. 23) prefiguring Hayes’s “Siren’s Call” (see my review). This emphasis connects directly with broader media-ecology concerns about attention markets and influence hierarchies (p. 205). YouTube’s niche-embracing ethos (p. 154) contrasts with advertising’s traditional preference for mass appeal, yet the platform ultimately remains advertising-driven.

Among the drawbacks, “Streampunks” largely sidesteps YouTube’s social costs—misinformation, excessive screen time, algorithmic amplification, and the influence of creators on young audiences. While Kyncl acknowledges propaganda in his Prague upbringing (p. 184), deeper reflection on platform governance or nonprofit and mission-driven uses of streaming would have strengthened the work. Readers seeking practical instruction may turn to Ciampa’s “YouTube Channels for Dummies” (see my review) or Derral Eves’ “The YouTube Formula” for “how-to” guidance, and to Lotz’s “Media Disrupted” (see my review) for a more critical industry-wide analysis.

Even with its limitations, “Streampunks” offers a valuable insider narrative of YouTube’s rise and the broader streaming revolution. It captures a pivotal moment when media power shifted from centralized gatekeepers to entrepreneurial creators—reshaping not only entertainment economics but how culture itself is produced, distributed, and consumed.

[Aly · Rating 3 out of 5]

In spite of the fact that I believe I am somewhat too old for this kind of behavior, I'm pretty fascinated by YouTube communities. Not surprisingly, my home is among the creators of educational and thoughtful content (Hank and John Green, Mike Rugnetta, Lindsey Ellis, etc.) But my connection with these creators tends to go beyond the information they provide-- I appreciate the fact that their YouTube videos bring these thoughtful, engaged, compassionate people into my life with regular uploads.

So I spotted Streampunks in a second-hand bookstore, and bought it with barely a glance at it. I think I was hoping for an insightful critique based on media theory of what YouTube is/does. Around 10-15 pages in, however, it is revealed that the lead author (who is supported by a named ghostwriter) actually currently works for YouTube, and what I have in my hands is not an even-handed account of YouTube's role in the media landscape, but a long-form ad. The target of the ad varies somewhat from section to section, but in general the audience for this book is clearly intended to be old media industry executives: advertisers who are skeptical about online content, music executives who blame streaming services for their waning cultural relevance. This audience is, I imagine, older than me, acquainted with the idea of YouTube, but befuddled by it-- the type of person who thinks it's mostly cat videos, and that Hank Green shouldn't have gotten to interview the president because of a video in which Hank humps different objects in his hometown. Kyncl's goal is clearly to acquaint these unassimilated digital immigrants with YouTube's basic platform, guiding them along by introducing them to various easily digestible YouTube stars, and assuring them that their industry will only be improved by doing business with his company. Sometimes he manages to do so under the guise personal enthusiasm for the company, as when he positions YouTube as a new incarnation of the Radio Free Europe he listened to as a child in Soviet-ruled Eastern Europe. At other times, the sanitizing process is a little more obvious, as when he brushes past the so-called "demonetization crisis" of late 2016-early 2017 in a sentence or two, assuring potential ad-buyers that the problem of ads being paired with offensive content has been patently solved to everyone's benefit (tell THAT one to the content creators...)

On top of that, Kyncl isn't exactly an intellectual writer. A number of his metaphors and arguments feel specious at best-- he describes previous instances in which media had changed content in order to argue that YouTube is... a thing...? He suggests that the music industry-- which in this case MUST be referring to the major record label system that dominated for the better part of the 20th century-- will succeed because people still like listening to music? Sometimes he veers from weak arguments into wholesale inaccuracies-- he states that radio doesn't pay royalties on music. This is false-- radio stations in the US don't pay royalties to performers or record labels as such, but they do pay royalties to songwriters. For this reason, songwriting credits are often given to performers, producers, etc. as a form of equity sharing for radio play.

With all that, I still have to say that I enjoyed reading this book. Not because of anything Kyncl brought to the table, but because at the end of the day, I love the creators that he profiles, and I enjoyed having even simple glimpses into their careers. So I'd say that much like YouTube itself, this book works only as a delivery service for the content created by other people. If you like what those people do, perhaps you'll find some enjoyment in this book.

[Janelle Hawkes · Rating 5 out of 5]

To see the rise of YouTube and the capabilities it holds through the eyes of a Czech immigrant is so enlightening. We take it for granted that this service exists when in fact it is a wonder. Robert examines the various facets of life it has touched and changed in anecdotes and success stories without making you feel like you’re any less than the people he speaks of. This is a business book along with a story. It’s wonderfully and charmingly written.

——-

“I’m not suggesting that celebrities should endorse a cause because it’s good for their career. I am suggesting that no one should stay silent because he or she thinks it will be bad for his or her career. The number of people turned off by your beliefs will almost surely be outnumbered by those who respect your honesty and outweighed by the goodwill and trust you will earn among your fans.”

“They are experts at forming and nurturing communities. They are fundamentally true to themselves, offering revealing and authentic depictions of their lives. They understand how to connect to global audiences, making videos whose appeal crosses borders. They embrace their diversity and the perspectives that make them unique. And they understand the appeal of niches, realizing that it’s better to draw a passionate few than an indifferent crowd.”

“Though everyone competes for our eyeballs, the music industry has a hold on our eardrums.”

“At $120 a year, a music subscription represents more money than the average consumer has traditionally spent on music, even at the peak of CD sales.”

“But in moments like that one in Havana, you take a step back, reminded of just how important access to information and entertainment is to people who don’t otherwise have it. You remember what a force for knowledge, enjoyment, and common understanding YouTube can be.”

[Victo José · Rating 2 out of 5]

O livro escrito em 2017 por Robert Kyncl, diretor de negócios do youtube, se provou uma leitura muito diferente do que eu esperava. Ele não é uma apresentação institucional: carrega a visão do autor, natural da Tchecoslováquia pré queda da cortina de ferro. É curioso ver como um jovem que vivia em um regime de censura se tornou diretor de uma plataforma de vídeos compartilhados. Embora Kyncl não fuja dos pontos polêmicos em torno da plataforma (ele comenta sobre algoritmos enviesados, trolling,  doxxing, cyberbulling, dependência da publicidade) esse não é seu foco. Como diretor de negócios, ele foca na transformação da mídia e da indústria do entretenimento. Narra a lógica distinta que rege um distribuidor com "espaço infinito na prateleira", muito diferente das operadoras tradicionais de TV. Reflete sobre como esse espaço infinito na prateleira (a cauda longa de Chris Anderson) fomenta a cultura de nichos (uma das histórias mais incríveis é de Jenny Doan, que começou ensinando a fazer quilts com seus vídeos e hoje é dona de uma fábrica/loja gigantesca no Missouri). Aborda a natureza global do YouTube e como ele fomenta novas interações culturais. Ressalta a dificuldade de financiar os criadores e conta a história de como a patreon , outra empresa digital muito interessante, nasceu da iniciativa de um músico insatisfeito com o YouTube. Eu conhecia muito pouco do YouTube até ler o livro (via alguns clipes de música e aprendi a tocar tamborim). Me convenceu de que vale a pena ver o que está rolando por lá. Afinal, são mais de 1,5 bilhão de usuários que se educam, se entretêm e se comunicam pela plataforma todos os dias.

[Andi · Rating 4 out of 5]

Kyncl (the now former Chief Business Operator @YouTube) creates a techvangelist treatise for YouTube as a democratizing force in media in his 2017 Streampunks.

Five years later, it still makes for an interesting read, even if the optimism Kyncl had has largely not panned out (see: end of the Internet Creators Guild, YouTube Originals downsized, and ongoing criticism of YouTube's algorithms directing viewers towards extremist content).

Kyncl has a very clear enthusiasm for diversity and emphasizes creators who fall outside of mainstream American media standards. And, he has strong evidence to support himself, emphasizing creators who are marginalized by society.

Anyone can become famous on YouTube.

If they put in the work. Knycl makes it very clear that creators who are successful on YouTube (i.e. influencers) worked, most for years, before they became successful. (Kyncl largely glosses over that the people who are able to put in the work of an unpaid second job, still have a degree of privilege.)

Rather than a chronological book, Streampunks approaches each chapter as an examination on a particular style of creator(s). For example, a chapter on John & Hank Green focuses on how important building community was for their success. We follow Casey Neistat's lifestory from teenage father to indie filmmaker to content creator & branding guru. We meet a Natalie Earnheart, (a quilting grandmother matriarch), who with her large family, has turned making YouTube quilting tutorials into a business that runs an entire town.

Overall, an interesting read.

[Sherri · Rating 3 out of 5]

I would have finished this earlier if I hadn't stopped every chapter to look at youtube and got distracted.

The author describes the origins of youtube, profiles some of the most successful youtube stars or creators, explains the youtube business model and argues the merits of subscription services such as youtube red.

He doesn't delve into the controversy about how much youtube makes in ad revenue versus the amount paid to youtube creators. He touches lightly on copyright and restrictions on content that isn't provided by companies youtube has contracts with, or how videos are taken down seemingly at random . But it is a good overview of youtube, its corporate culture and possible future.

[Jason · Rating 4 out of 5]

This book chronicles how YouTube is changing how artistic creation and almost everything else is done. Written by the Chief Business Officer if YouTube, it is obviously a little biased but who doesn’t love YouTube?

The best part of this book is that shares the origin stories of many of your favorite YouTubers. And man is it inspiring? Lots of advice to take your art and your business to the next level. I so enjoyed this book.

[Artslyz · Rating 2 out of 5]

Some of this was very interesting but I felt like I was reading an ad for YouTube which I guess is my fault for not realizing the author works for the company. I am interested in the ways media are being shaped and changed and thought his points about vlogs being the “new” reality tv were interesting.

[Don Gorman · Rating 3 out of 5]

(3). If you are interested in modern culture and media, this is close to a must read. This inside case history of YouTube and its effect on the marketplace is important. Studies of many folks I certainly have never heard of, and how they succeeded from the very beginning. Much more lively than the average business book like this one.

[Jack Ngo · Rating 4 out of 5]

I am reading this book.

It makes me feel more clearly about Youtube and social videos which I thought was very simple to create. But the fact that behind the scene is difficult to make a successful social channel. This is a very good book for those who want to start a social channel and earn some money from it.

[Holly · Rating 3 out of 5]

In spite of the fact that this book (especially the beginning and the end) reads like propaganda for YouTube, I learned quite a bit that I did not know about YouTube’s impact on media and some of its top creators. Since it was published in 2017, it would be interesting to get a present-day update on the people profiled in and trends discussed in this book.

[Tom Withers · Rating 2 out of 5]

YouTube stars and how they got to be so great. It was an interesting insider look at the video giant with all the squishy 2019 luxury liberal beliefs to go with it. You kind of feel like you need to take a shower to get the rainbow glitter out of your hair afterward, but what else would you expect from the big red button that owns online video?

[Vasco · Rating 5 out of 5]

The bad: nothing, really

The good: a great overview of YouTube's history and the relevant figures that grew with it from an insider source on the subject. Great book and gives great context to YouTube's business and associations.

[Carmen Weninger · Rating 3 out of 5]

a pretty decent book that made me smile and laugh sometimes cause some of the youtubers mentioned were definitely some sort of childhood "heroes" for me ;) I also thought it gave very interesting insight into the algorithms of youtube and their vision.

[Niko Hyppönen · Rating 4 out of 5]

Suoratoisto on muuttanut varsinkin nuorten tapaa kuluttaa viihdettä. Sama ilmiö on nostanut monia uusia tähtiä suosioon ja mahdollistanut paljon. Tämä kirja kertoo mielenkiintoisten esimerkkien kautta, miten mediakenttä on muuttunut ja mitä se tarkoittaa sisällöntuottajille sekä kuluttajille.

[Ugonwa Obasi · Rating 5 out of 5]

This book is for people who are interested in becoming entrepreneurs using YouTube. I enjoy that this book talks about the history of technological advancements and how a company 's ability to foresee these events.

[Camila Veloso · Rating 5 out of 5]

Apresenta uma visão diferente do YouTube e o que ele significa para a internet (quem escreve é o CBO do Youtube).

Usei o livro no meu TCC.

O conceito mais legal é o de Streampunk - porque pra ele a internet é um meio punk, não tradicional e os streamers os protagonistas da Rede.

[James · Rating 5 out of 5]

Great read highlighting the rise of a handful of innovators establishing a new media paradigm. Outlines the blueprint for building a business in the digital age… many crypto technologists have been very successfully leveraging this playbook!

[Duong · Rating 3 out of 5]

Audio book

Chắc nó hay đó, mà tại mình chẳng hứng thú với platform này lắm, cũng chưa định làm youtuber, streamer hay content creator luôn nên nghe cho vui thôi. Không gì lạ lẫm nổi bật truyền cảm hứng

[Steven S · Rating 4 out of 5]

Menarik.

[CP (Wayne) · Rating 5 out of 5]

Wow this book was a very interesting read!!! Anyone know of something similar?

[Vinayak Malik · Rating 5 out of 5]

a must read for anyone trying to get a sense of what online media is