Welcome to Creators on the Rise, where—in partnership with global creator company Jellysmack—we find and profile breakout creators who are in the midst of extraordinary growth.
And now for something a little different.
If you’re a regular reader of this column (or if you read the headline), you know it’s about up-and-coming creators whose YouTube channels are seeing big spikes of growth in subscriber and view count. Most of them have a couple hundred thousand subscribers and are just starting to hit eight-figure monthly views.
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But Jordan Matter, who we talked to for today’s feature, is far beyond those numbers. He’s a well-established creator who started his channel in 2017, now has more than 12.5 million subscribers, and, as of July, brings in more than 300 million views per month.
So why exactly are we featuring the self-proclaimed “oldest guy on YouTube” for a column about creators on the rise?
Simple: We’re not really featuring him. We’re featuring his daughter Salish.
Jordan didn’t set out to have his daughter become the star of his channel. Back before YouTube, he was a professional photographer, and had become known for capturing dancers and contortionists in striking poses. To show naysayers he actually was taking the shots in real time and in real settings, he started filming his photoshoots. Then, naturally, he needed a place to put the videos.
Since its first uploads in 2010, Matter’s channel has gone through four distinct evolutions. We’ll let him tell you more about those himself, but what you need to know now is that the latest evolution is where Salish comes in.
In the last couple of years, Jordan began collaborating with creators like Charli D’Amelio and Addison Rae–people whose audiences comprise a lot of teenagers, and a lot of teenage girls. It occurred to him that he might not be the most relatable guy to these viewers–so, about a year ago, he took a chance and filmed a different kind of video. This one featured Salish saying goodbye to her gymnastics team as the Matters prepared to move from New York City to Los Angeles.
He instantly saw that missing layer of relatability, he says. To date, the video’s racked up 32 million views.
Salish has now become a central figure on Jordan’s channel–a role that’s seen her become more and more comfortable in front of the camera opposite guests like Katelyn Ohashi, Jack Payne, Shawn Johnson, Jordan Chiles, Ben Azelart, ZHC, Dhar Mann, and Preston.
We sat down with Jordan to talk about his channel’s evolution, his production process, how Salish has changed his content, and what’s coming up next.
Check out our chat below.
Tubefilter: Let’s start with your background! How you get started in photography?
Jordan Matter: I was a baseball player in college followed by an actor in New York City. At a certain point, I realized a lot of actors had bad headshots. So I started doing everybody’s headshots that I worked with. And I had a different approach. Everybody was doing studio photography, but I did outdoor, natural life photography.
So that took off and I started having a photography business. Then I started doing books with dancers where I would tell everyday stories, but using dance. So somebody would be racing for the subway, but they would be in a split pose and they would be in everyday clothing. That became a book called Dancers Among Us, which ended up becoming a bestseller.
That’s when I really started getting the opportunity to work with dancers and with celebrities and all that. Once I had the success of that book, it was followed up by two more bestselling photography books, and that’s when I started on YouTube.
So, uh, wow, that was like my entire life summarized in 40 seconds.
Tubefilter: That’s exactly what I was looking for! How did you make the leap from having a photography career and bestselling books to “I’m gonna be on YouTube”? How did YouTube catch your attention?
JM: YouTube caught my attention for two reasons. One, a lot of people thought that the photos I was taking were fake because the dancers were doing these amazing things. So I wanted to start documenting the process to prove that I was really doing it, not Photoshopping it. So we started making videos, but we were posting them on Vimeo at the time. Death for views, but it was just so we could link the video on our website.
And then my partner—my creative partner, his name is Sandy, he was the guy that was making the videos—he said to me, “If we start posting on YouTube and get 10,000 subscribers, we could get access to their studio for free in Chelsea once a month.”
That seemed pretty cool, but I had no idea how to get 10,000 subscribers, because I had zero at that time. I didn’t know anything about YouTube at all. I didn’t know you could monetize it. I didn’t know what collabs were. I didn’t know who was who on YouTube, nothing. But I did have access to some pretty well-known young dancers, because I was working on a book called Born to Dance, which featured kid dancers and everyday childhood shown through dance.
So I had Dance Moms kids, and to my great fortune the show had just ended, and people were still hungry for Dance Moms content. So I started doing videos with these Dance Moms kids, and simultaneously came up with this idea called a “10-minute photo challenge,” because I’m a high-energy photographer. So I’d be out on the streets, taking a lot of pictures real quick, and I decided to give myself a time limit. Ten minutes.
I don’t know if it was the right place, right time, whateve reason, but that concept took off. Suddenly we were getting hundreds of thousands of views on each video and scrambling and like, “Oh my god, this is a real thing.” My goal at the time was to create enough of a following to help sell the book when it came out. Still no interest in monetizing or anything.
But the videos started getting more and more popular, and people started asking me to collaborate. So I reached back out to the people who asked me to collaborate and then travel around to do it. And the YouTube channel started building for that reason. It became a collaboration channel.
Tubefilter: So aside from the Dance Moms (and kids), who was the first major creator you ended up collaborating with?
JM: Sofie Dossi. And that really took the channel to another level, because before that it was Dance Moms, kids, they’re pretty popular. But Sofie was world-recognized. She was at the beginning of her peak popularity, and she’s, as a contortionist, extremely flexible. So I had the best popularity mixed with awesome photos.
We did a couple videos and that really propelled the channel forward. Then Nia Sioux, who was a big star of Dance Moms, gave me my first viral video. Then I flew to Australia to work with the Rybka Twins, who were also very, very popular.
Tubefilter: You said you weren’t thinking about monetization at first, so when did that switch flip?
JM: Yeah, I remember so specifically. I was at a party in Brooklyn. I think at that point we had like 100,000 subscribers. We were getting maybe half a million views per video. And this dude said, “Oh man, how much money are you making?”
And I said, “Money?” [laughs] I had no idea.
He said, “You don’t know about AdSense?”
So we looked into it and signed up for AdSense. And that’s when the money started coming. It still wasn’t anything close to what I was making as a photographer. But it was “Wow, this is a supplement. This is real money. It’s not nothing money.”
We started realizing that we had to learn all about the algorithm and start looking at analytics. The whole time, the concept of the channel was like a late-night talk show. So I’d be the fun host, but really you tune in to see who the guest is. So the bigger the guest, the bigger the views, we realized pretty quickly.
The challenge was not a lot of people can do extreme flexibility and dance stuff, and most famous people couldn’t. We had to come up with another approach so I could utilize them. The first big one I did that with was Charli D’Amelio. She could dance, of course, she’s a dancer. But it wasn’t extreme kind of stuff. We did more TikTok-related stuff with her.
We did a video that went very, very viral, where I wasn’t even taking pictures. I would just go up to people at Santa Monica Pier and I would say, “Hey, do you want to do Renegade with me for a YouTube video?” And they would say yes, and then halfway through, I would tap out and Charli would appear and people would freak out.
I worked with Addison Rae, the whole Hype House. It was right at the beginning when they were all popular, and then that made it more popular, and that took the channel to a whole other level. Then it became a much bigger collaboration channel where we didn’t need dancers or contortionists. We just needed famous people, and we would come up with something interesting to do with them.
Tubefilter: How did Salish enter the picture?
JM: What happened was, at a certain point, you know, you’re reliant on the guest every week. I started thinking, a lot of our viewers are teenage girls, and I’m not very relatable to them. [laughs] I mean, other than like a fun dad, but I’m not…They don’t care to wear the shirt I’m wearing, you know? THere was nothing personal about me. I was just entertaining them.
I did one video about a year ago, when we moved from New York to L.A. At that point I had stopped doing my photography and just concentrated on YouTube. I did a video where Salish said goodbye to her gymnastics team, and we have never done anything like that before. It was so well-received because it was emotional and it was personal. It was relatable!
I saw the response and started thinking, man, she really loved being in front of the camera and really likes to perform on camera and meet all these people. We started putting her in videos from time to time, and I started seeing comments where people would react to her specifically. Like, “She’s a vegetarian?” “She’s really shy!” “She’s a gymnast?” They started to get to know her.
That’s when we started using her more, and she and I get to have an experience every week together. And the audience feels like they’re part of the journey. So it took the channel to an entirely different level, because of the intimacy they feel with her.
Tubefilter: I’ve talked to a lot of YouTuber families and kids whose parents are creators. I feel like in a lot of those cases, kids often grow up being on camera from day zero. It’s more unusual for a parent to become established and then bring their kid in with them. What’s that been like?
JM: I’ve been doing this for about five years, so she was about seven when I started. And she grew up seeing it from a distance and watching the videos with her friends, but she’s never been interested in celebrity. Like, she’s never been somebody who wants to meet certain people or anything. What she loves is gymnastics, and she really likes hanging out with me. So we started combining those two together. It never felt like “Now it’s a job.”
Of course I’ve worked with a lot of YouTube families and it’s a job for them. It’s a job. They’re out of school three days a week, they’re shooting. It’s all-consuming. And the way I’ve always done it, even though our channel has now really pivoted so it features my daughter every week now, it’s always been like, “Do you want to do this?” “Hey, I’ve got this idea, do you want to do it?”
And if she says no, then we won’t do it. Or if she doesn’t feel like shooting, we won’t shoot. There’s no pressure on her to carry the channel, because it was perfectly successful before, and could be again. It’s just that she and I get to bond together now, hang out and make fun content. She enjoys it. That’s, I think, why it works well without there being a lot of pressure.
Tubefilter: Has your relationship changed at all now that you’ve been working together?
JM: No, because we love to hang out anyway. It’s more that now we have an excuse to, at least once a week, go have an adventure. That’s the way we’re looking at it: What adventure do you wanna have this week? “Do you wanna go fly to Texas and see your best friend?” We probably wouldn’t do that if we weren’t making a video. “Do you wanna go hang out with an Olympic gymnast and do a video for a few hours?” Sure wouldn’t have done that otherwise.
Then afterwards we usually go and do something special together that’s just fun. So as long as we keep it fun and no pressure, she doesn’t feel like she in any way is responsible for the success of the channel. That’s the thing I’ve noticed that I think a lot of kids feel the pressure of. They realize the views. I mean, we’ll joke about it all the time. She’ll joke about how many more views the channel gets when she’s in a video. So it’s a joke, but she knows that we’re fine. Like, I’m fine. If she doesn’t want to do it, the channel will do great without her, but it’s better with her. And it’s more fun with her, because I’m either working with her or I’m working with someone else that’s not my kid. I’d rather work with my kid.
Tubefilter: You put out a new video every Saturday. What does your weekly filming schedule look like with you and Salish?
JM: The weekly filming schedule is usually we shoot on Wednesdays, because she goes to school in person twice a week. Wednesdays, she’s not in school, and she’s not in gymnastics, so Wednesdays is when we shoot. She’s got gymnastics school on Sunday, and the rest of the week is hers to do whatever she wants to do. Gymnastics, school, hang out with friends and stuff.
She’s not involved in any of the preproduction madness or anything like that. We will spend several days coming up with an idea, planning it out, everything, and then just say, “Okay, come with me to the mall. We’re gonna go shoot this.” But we’ve put in a bunch of time planning it out. She doesn’t have to do any of that stuff.
Tubefilter: That leads right into my next question: What’s your process like?
JM: Our process used to be, when it was photography, I would say, “Here’s our dancer, here’s the street corner, and let’s just go improvise.” But I’m noticing a big switch with YouTube. Maybe you’ve noticed this also: People like Ryan Trahan and MrBeast, these guys are upping the ante. We’ve always kind of had a long shooting schedule anyway. The joke has always been, if you collaborate with us, you have to put aside an entire day. Most YouTubers spend an hour or two shooting their videos, but we’ll spend eight hours. But somebody like Ryan, he’ll spend a week shooting a video. So I think that the standards have gone up for the viewer, and as a result, a quick-shot video is not as successful as it used to be.
I know a lot of creators who are having a hard time getting the views they did because they have the same process they used to have. What we do is we spend a couple of days just talking about ideas, and then once we have an idea, we’ll spend the day before or two days before planning out all the beats of the idea. I’ve found that the best ideas are the ones where we have a structure, but then all of us get to improvise within that structure. So we give Salish scenarios that she then has to complete, and it’s all her own personality. She doesn’t have to say any preset lines or anything.
Then the other thing that’s really important to me is everything we do is real. So if we go on a shopping spree, everybody who works with us knows that whatever they buy, they get to keep that thing. It’s not like we fake it and then go give it back after the video’s over. There’s a certain degree of authenticity in their reactions. So if they don’t guess the right answer, they didn’t get the iPhone, and they know they actually would’ve gotten it.
Tubefilter: How many people do you have on your team with you?
JM: It’s a pretty small team. For preproduction it’s me and Sandy, the dude I mentioned. We’re the main ones. He shoots, I come up with the concepts. We discuss the concepts. I direct the shoot, and we’re shooting. We have an assistant, Rowan, who does everything else, and then we have a postproduction crew. We’ve just brought in a production manager too. So that’s one additional person.
I’d say four people for preproduction and production, and then a postproduction team of editors.
Tubefilter: When did YouTube become enough of a thing where you were confident enough to hire a team to have it be a full-time career and business for you?
JM: The truth is, I think we should have hired earlier. We should still hire more. Anybody will tell you, it’s very hard to find people who are not necessarily good, but committed, and have the right skills. It’s a new industry, having YouTube skills specifically, and it’s difficult to find people.
I’d say about when we moved to L.A., that’s when we made the decision. It was right in the middle of COVID and we were coming up on winter and it was going to be cold and hard to shoot in New York. So I decided to move to L.A. instead and keep creating content here and make it full-time and forget the photography business. It was at that point where we really realized there’ss serious potential here for a real career, whereas before it was promotion.
Tubefilter: I feel like a lot of people have realized specifically during COVID that they could make a full-time thing of this.
JM: Yeah. It’s kind of feast or famine with YouTube. I haven’t met a lot of people who are in that career but not big into that kind of career. It either dies down or it gets biger. It’s hard to maintain that medium place. I think a lot of people, when they are in the medium place, they commit to making it full-time, and usually that full-time thing pays off because the more effort you put into it, the better your videos and the more videos you make, and then obviously YouTube is gonna favor that.
Tubefilter: You said that collaborating with people has been a big part of growing your channel, but have you noticed any other factors that affect your videos’ performance and channel growth?
JM: Sure. First of all, I think there’s two styles. A personal vlog-style creator, like a Logan Paul or Emma Chamberlain, where the audience gets wrapped up in their daily lives and is just invested. And then the others are more algorithm-based, challenge-based kind of channels. We’re more of that, though we’re incorporating. For those, I think paying attention to the algorithm and to the analytics is really important to get a sense of the flow of the video, so you can keep people on longer.
One of the things huge to our channel was Paddy Galloway. You should watch him if you’re interested in the backend analytics of YouTube. Once a month, he’ll analyze a famous creator’s channel. I reached out to him and I asked if he could do a backend analysis of our channel, and he said yes. He really broke it down, like do not do a title sequence, get into it in the first 10 seconds. He took our retention from 50% to 65% overall. Just understanding how to get and keep people was a huge help to us.
Then if you add in the fact that we have a character, my daughter, who’s continuing in the videos, there’s an emotional connection to her. That combination of two things I think is what’s helped the channel go to the next level.
I also think one of the things about Salish, one of the things I think is really great about her which a lot of people should probably pay attention to, is how relatable she is. Meaning she’s just a normal kid. There’s nothing particularly, like…I don’t want to say special because she’s really great on camera and she’s a good gymnast and all that. But it’s not like we’re building her up to be more than she is. She’s like a lot of other people out there. And that element is very relatable.
I think there’s two different approaches to having kids in your videos. Is it gonna be an aspirational thing or is it gonna be a relatable thing? If it’s a relatable thing, you shouldn’t be driving a Lambo with a huge mansion, because not many people have that.
Tubefilter: I will say, having watched some of your videos featuring Salish, she reminds me a lot of my younger siblings. I love them to death, but they’re regular kids.
JM: That is the best compliment, because we’re very aware of that.
Then, also, it’s naturally who she is. I think there was, you know, if you look a couple years back on YouTube, you see that the big thing that drove views was Jake Paul and his Lambo and Logan with his huge house. It was all about flexing, right? That’s the whole thing. You become famous for doing pranks, and then the second you become famous, your entire content is about how famous and rich you are.
I think the family channels have held onto that also. Like, “Okay, we gotta look famous.” “We gotta a big house.” “We gotta flaunt it.” All that. And I don’t know, man, I don’t like watching that kind of content. I think people who do it really well are the Royalty Family, because they do a combination of being obviously well off—they’re called the Royalty Family—but they’re also very relatable, down-to-earth naturally. So they do the best at both.
For me, I like there’s not a lot of representation of everyday normalcy on YouTube, especially when it comes to family channels.
Tubefilter: I do feel like that’s shifting a bit with COVID. I feel like it’s become more unpopular to flex.
JM: Oh, interesting. Yeah, that might be true. I don’t know. I also think the family channel genre is in transition anyway, because using kids in your videos and how much of that to do…There’s a lot of pages that have exposed parents who aren’t great. And if one parent is bad, all parents suffer. I think it’s not the most popular genre to get into right now on YouTube, and so as a result I think there’s a craving for it if it’s done well—meaning, like, done innocently without trying to exploit anyone.
I think that’s the hardest part. You want the views and you know what drives the views, but to do that thing, you kind of have to take advantage of your kids’ emotions, and that’s when you start walking a slippery slope. That’s something I’m definitely never going to do. I’d rather not shoot than film my daughter crying, for example. That’s where it gets a little bit…I would always be on the side of let’s keep it fun and not at all exploitative.
Tubefilter: Yeah. You can see that pressure, where there are some family channels where they either feel stuck financially, or they’re so committed to, “Well, my kid is this channel and this channel is my career.”
JM: Yeah. And I’ve met them. I’ve worked with them. I’ve talked to the kids without the parents around. I’ll just say it’s not all roses, you know. These kids want to live everyday lives.
And it’s a great fortune we have, that this is the fourth version of our channel. It’s the most successful version, and a lot of that credit goes to Salish, but we’ve had three other versions that didn’t need her. She knows that. So as long as she’s having fun, that’s great. The worst thing for me as a dad would be to be on set with her and see she’s not having fun. And then pushing her to do it anyway, when she’d rather be somewhere else…That’s the thing I don’t ever want to feel. So right now, we’re good. But I always assume this is just a temporary period of time for this channel. And then we’ll move on to something else after.
Tubefilter: Does Salish have this in mind as a career? Or is she looking at something else?
JM: Gymnastics. And the thing is with her, this is very funny and something people are starting to get to know about her, but she hates emotions. I mean, she can be emotional, but if I say anything like, “It’s really nice to work with you,” anything in any way sentimental, she’s like, “Dad. No.”
So if I’ll say, “Are you sure you want to do this?” she’ll always be like, “I know, I know, I know this is just temporary. I know! I know! I know! It’s not gonna be like this forever!”
She’s heard it. So if I said, “Do you want to keep doing this?” she’s like, “Yeah. It’s fun. I love it.”
Tubefilter: Very practical.
JM: You have no idea. She’ll tell me when she doesn’t want to do it and I keep reminding her, we don’t need you for a living. You’re not here for our well-being. This is for fun.
She’s like, “Dad. I get it. I got you. Let’s move on.”
I’ll pitch her an idea. Literally I’ll say, “Here’s my idea. Do you want to do it?” And she’ll say yes or no, and then we’ll do it or not. That’s that.
Tubefilter: So she’s not involved in the preproduction, but she has the ultimate final say about whether or not specific videos get made.
JM: Absolutely. Yeah. And also things that are happening on set. While we’re shooting, there might be something I conceived of that she’s not comfortable with, and we won’t do it. I really leave it all up to her. As a photographer, for years I would shoot a bunch of kid dancers. I would see the whole Dance Moms thing up close. I think it’s gross when youg et the manipulation where it’s like, “You’ve got to do this.”
If she doesn’t want to do it, we’re not going to do it.
Tubefilter: That’s reassuring to hear.
JM: Yeah. And I think initially, one of the interesting things about her is, when we did earlier videos with her, she’s naturally shy.
Tubefilter: Oh really?
JM: Yeah! I know you wouldn’t know it, but she really is. She actually says on camera, “So you guys know I’m really shy and this is gonna be hard…”
There’s been a lot of dances, by the way, that we never shot, because she’s like, “I actually can’t do that.”
What’s interesting is I’ve seen an evolution. There was a video we did with Shawn Johnson, who’s an Olympic gold medalist. We flew to Nashville and surprised Salish with meeting Shawn. And when you watch that video, surprising my daughter with her favorite celebrity, she’s so shy that she’s hiding. She couldn’t look at Shawn. Then she’s with Jordan Chiles, the video we just did, also an Olympian, and Salish is a big fan of Jordan, but you could see she was just totally comfortable.
There’s been this evolution where she’s done this enough on camera, gotten comfortable being herself on camera and knows what works and what doesn’t. She’s also not intimidated by adults she’s on camera with, but she prefers to work with kids over adults.
Tubefilter: I saw you’ve dipped your toes into doing YouTube Shorts a bit. Do you have any thoughts on that?
JM: Oh yeah. We just started doing that. Our partner manager has been really pushing it. The question last year about Shorts was whether or not to put them on your main channel. I heard maybe for about 20%, 25% of channels, it actually had a negative impact on the channel because of the algorithm. Suddenly you’re posting shorter videos, and YouTube just hadn’t figured it out yet, was my understanding.
So we started a Shorts channel which did absolutely nothing. [laughs] So I just forgot about them. Then I started seeing Ryan Trahan and others posting Shorts, and started talking to them about it, and they said, yeah, now’s the time to talk to my partner manager.
It’s very interesting because the way long-form video works is we can tell from the views up front how well the video’s gonna do, and if we need to make a change to the title or thumbnail based on the first hour. Whereas with a Short, the first Short we ever posted, for about eight days, was really underperforming. And then suddenly it spun and it went from a million to 16 million views in about five days. So it took a long time to get into speed.
It’s a different thing. It requires patience. But now that I’m doing them, I kind of love it. And the reason I love it is because I have a lot of ideas for videos that just should not be full-length videos. The first one we did was guess my daughter’s age, and you can’t stretch that to 10 minutes. But for 40 seconds, it’s pretty entertaining. So it opens up another opportunity for creativity. A lot of subscribers come from Shorts. And even if you’re not monetizing, it just keeps the channel relevant.
Tubefilter: On a related note, are you putting any more stock into TikTok these days?
JM: I pretty much stopped posting to TikTok. It was weird. They’d strike my videos for some weird reason. Like if a dancer would do a leap, they’d strike it as dangerous or something. That’s the other thing that’s great about focusing on Shorts. I’m finding it gives you more places to post. You make a Short, it’s also a TikTok. It’s a Reel. And so on.
So you’re expanding, and they’re different audiences, because I’ve posted them on all three. We’re about to do Snapchat, and what I’ve found is that nobody really comments, “Oh, I saw this on YouTube.” It’s independent. It’s as if they’re seeing it for the first time, even though I think I have a lot of the same followers on every platform.
And then also Facebook too. Facebook is much bigger than most creators understand. It started as a platform where people would complain about politics and talk about their dog. It started from such a personal place. And now you’re trying to, into an entertainment aspect, do what’s naturally just home movies of your kid. So they’re trying to do both things.
And I agree it’s really cluttered and hard to know how to succeed at it. That’s why I’m with Jellysmack. It’s like, here, let them. I can’t follow what I’m supposed to to, and it’s supposed to be square, but Shorts are vertical and long-form is horizontal. So whatever.
Tubefilter: I was going to ask that next, how you manage multiplatform distribution, but if you’re with Jellysmack I understand.
JM: Yeah. We’re with Jellysmack on Facebook and then we’re talking to Jellysmack about Snapchat. Then I’m running Shorts, Instagram, and TikTok.
For me the two primary ones are Instagram stories and YouTube Shorts. And long-form. That’s where I primarily focus my interest. Then I’m gonna post the Shorts on TikTok, but I’m not thinking much about developing that, even though I should. You can get very good brand deals on TikTok. Shorts is a bit of a newer market.
The interesting thing there to me, the interesting market that has not been explored at all by brands, is YouTube Stories.
Tubefilter: Oh?
JM: Yeah. An Instagram Story of 24 hours, a good one, will get 150,000 views or whatever. A Story on YouTube is up for two weeks and it’ll get a million or more. I’ve never been approached to do a Story on YouTube. They always ask for a Story on Instagram and I’ll say to my manager, “Are you sure they don’t want to do that on YouTube? It’ll get way more views.” They’re not into it yet.
Tubefilter: Do you have any other plans for the rest of this year, for you and Salish and your channel?
JM: We started a second channel because I was getting a lot of comments about “Where’s the photography?” “I miss the photography.” So we started a second photo challenge channel. We said when we hit 50,000 subscribers that we’d post our first video. We hit that, so now we’re gonna post that. That’s one thing that takes some time, is we have to start doing photo challenges again. Plus the Shorts. Plus YouTube. That, in and of itself, is full-time.
The main thing I want to do is I want to work on a scripted series, and post it on my main channel. It’d be a scripted series with Salish and Dhar Mann together playing roles. Dhar Mann, he’s a good friend, so it’d be an ongoing plot, let’s say six episodes, and see how that goes.
My long-term plan would be to have a production company and be overseeing and directing rather than being on camera.
Tubefilter: Do you have anything else you feel like readers should know about you or about Salish?
JM: I guess I would say as a parting message that if you’re interested in making content, the thing that I’ve found that has resonated with audiences for me, and also for Salish, is authenticity. Own who you are and be true to it. And don’t feel like you have to exaggerate things for effect. And giving away $100 is pretty much the same thing as faking giving away $10,000. Better to give away a real thing than a fake thing. Keep yourself like you are, tell your own personal stories, and make it relatable and personal to the audience. And stay consistent.
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