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Musical.ly investor bets on internet radio with $17M deal for Korea’s Spoon Radio

One of the early backers of Musical.ly, the short video app that was acquired for $1 billion, is making a major bet that internet radio is one of the next big trends in media.

Goodwater Capital, one of a number of backers that won big when ByteDance acquired Musical.ly last year, has joined forces with Korean duo Softbank Ventures and KB Investment to invest $17 million into Korea’s Spoon Radio. The deal is a Series B for parent company Mykoon, which operates Spoon Radio and previously developed an unsuccessful smartphone battery sharing service.

That’s much like Musical.ly, which famously pivoted to a karaoke app after failing to build an education service.

“We decided to create a service, now known as Spoon Radio, that was inspired by what gave us hope when [previous venture] ‘Plugger’ failed to take off. We wanted to create a service that allowed people to truly connect and share their thoughts with others on everyday, real-life issues like the ups and downs of personal relationships, money, and work.

“Unlike Facebook and Instagram where people pretend to have perfect lives, we wanted to create an accessible space for people to find and interact with influencers that they could relate with on a real and personal level through an audio and pseudo-anonymous format,” Mykoon CEO Neil Choi told TechCrunch via email.

Choi started the company in 2013 with fellow co-founders Choi Hyuk jun and Hee-jae Lee, and today Spoon Radio operates much like an internet radio station.

Users can tune in to talk show or music DJs, and leave comments and make requests in real-time. The service also allows users to broadcast themselves and, like live-streaming, broadcasters — or DJs, as they are called — can monetize by receiving stickers and other virtual gifts from their audience.

Spoon Radio claims 2.5 million downloads and “tens of millions” of audio broadcasts uploaded each day. Most of that userbase is in Korea, but the company said it is seeing growth in markets like Japan, Indonesia and Vietnam. In response to that growth — which Choi said is over 1,000 percent year-on-year — this funding will be used to invest in expanding the service in Southeast Asia, the rest of Asia and beyond.

Audio social media isn’t a new concept.

Singapore’s Bubble Motion raised close to $40 million from investors but it was sold in an underwhelming and undisclosed deal in 2014. Reportedly that was after the firm had failed to find a buyer and been ready to liquidate its assets. Altruist, the India-based mobile services company that bought Bubble Motion has done little to the service. Most changes have been bug fixes and the iOS app, for example, has not been updated for nearly a year.

Things have changed in the last four years, with smartphone growth surging across Asia and worldwide. That could mean different fortunes but there are also differences between the two in terms of strategy.

Bubbly was run like a social network — a ‘Twitter for voice’ — whereas Spoon Radio is focused on a consumption-based model that, as the name suggests, mirrors traditional radio.

“This is mobile consumer internet at its best,” Eric Kim, one of Goodwater Capital’s two founding partners, told TechCrunch in an interview. “Spoon Radio is taking an offline experience that exists in classic radio and making it even better.”

Kim admitted that when he first used the service he didn’t see the appeal — he claimed the same was true for Musical.ly — but he said he changed his tune after talking to listeners and using Spoon Radio. He said it reminded him of being a kid growing up in the U.S. and listening to radio shows avidly.

“It’s a really interesting phenomenon taking off in Asia because of smartphone growth and people being keen for content, but not always able to get video content. It was a net new behavior that we’d never seen before… Musical.ly was in the same bracket as net new content for the new generation, we’ve been paying attention to this category broadly,” Kim — whose firm’s other Korean investments include chat app giant Kakao and fintech startup Toss — explained.

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Google launches Cameos, a video Q&A app aimed at celebs and public figures

Google has launched a new video-based Q&A app called Cameos on the App Store, which allows people to answer questions about themselves, then share those answers directly on Google. The app is aimed at celebrities and other public figures, who are often the subject of people’s Google searches. With the Cameos app, they can address fans’ questions in their own voice, instead of leaving the answers up to other websites.

The feature is an extension of the company’s “Posts on Google” platform which has been slowly rolling out over the past couple of years, giving some people and organizations the ability to post directly to Google’s search result pages.

Initially, “Posts on Google” was open only to a small number of celebrities, sports teams and leagues, movie studios and museums. But last year, it expanded to local businesses who could then publish their events, products and services. This spring, it opened up to musicians. And it had been earlier experimenting with a feature that inserted celebs’ video answers into search, as well.

Those invited to use the service have been able to post updates to Google which include text, images, video, GIFs, events, and links to other sites. In a way, it’s like Google’s version of Twitter – but with the goal of helping web searchers find answers to questions.

The new Cameos app is focused specifically on video posts.

As the App Store description explains: “Record video answers to the most asked questions on Google and then post them right to Google. Now, when people search for you, they’ll get answers directly from you.”

The app also allows celebrities using Cameos to see the top questions the internet wants answers to, so they can pick and choose which of those they want to answer. Their answers, recorded with their iPhone’s camera, will be published directly to Google search and in the Google app.

The service brings to mind Instagram’s new Q&A feature, launched this July. Via a Questions widget that’s added to an Instagram Story, users can solicit questions from their followers. The recipient can then select the questions they want to respond to, and post their replies publicly to their Instagram Story.

The feature become so popular, so quickly, that it began to dominate people’s Stories feed. There was even a bit of backlash.

Google’s Cameo video answers could be more useful, as they’d only appear when that question was searched on Google. It would also give Google a social platform of sorts – a market it has tried to compete in for years, and is now littered with failures like Orkut, Dodgeball, Latitude, Lively, Google Wave, Google Buzz, and of course, Google+. At least with Posts, Google is focusing on what it does best: Search.

Google confirmed the feature is part of its earlier efforts around Posts on Google using video. The Cameos app is part of a pilot that makes it possible for celebrities and other prominent figures to participate, a spokesperson said.

The Cameos app description also notes that it will add more questions for celebs to answer on a regular basis.

Access to use Cameos is only available upon invitation. Those interested can download the iOS app to request access.

Updated 8/9/18, 11:20 AM with Google comment

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New York City Council votes to cap licenses for ride-hailing services like Uber and Lyft

The New York City Council has approved legislation that will halt the issuing of new licenses for ride-hailing services like Uber and Lyft.

The stated goal of the policy is to give the city time to study the industry’s impact. During that time, ride-hailing companies would only be able to add new vehicles if they’re wheelchair accessible. The legislation also allows the city to set a minimum wage for drivers.

There were drivers demonstrating in favor of the bill package outside City Hall today, and the Independent Drivers Guild (which says it represents more than 60,000 drivers for ride-hailing apps in New York City) praised the decision.

“We hope this is the start of a more fair industry not only here in New York City, but all over the world,” said IDG founder Jim Conigliaro, Jr. in a statement. “We cannot allow the so-called ‘gig economy’ companies to exploit loopholes in the law in order to strip workers of their rights and protections.”

Uber and Lyft, meanwhile, had asked their riders to oppose the legislation, saying that it would result in fewer drivers and less reliable service. They also suggested there were other ways to address the underlying issues, and in fact proposed creating a $100 million “hardship fund” for drivers as an alternative.

NYC drivers

Drivers demonstrating outside City Hall

In response to today’s news, Danielle Filson from Uber’s communications team provided the following statement:

The City’s 12-month pause on new vehicle licenses will threaten one of the few reliable transportation options while doing nothing to fix the subways or ease congestion. We take the Speaker at his word that the pause is not intended to reduce service for New Yorkers and we trust that he will hold the TLC accountable, ensuring that no New Yorker is left stranded. In the meantime, Uber will do whatever it takes to keep up with growing demand and we will not stop working with city and state leaders, including Speaker [Corey] Johnson, to pass real solutions like comprehensive congestion pricing.

The company plans to explore other strategies to keep up with demand. Those include recruiting drivers with licensed vehicles who aren’t currently working with Uber, or finding additional drivers who could drive licensed vehicles at times when they would otherwise be idle.

Lyft, meanwhile, sent this statement from its vice president of public policy Joseph Okpaku:

These sweeping cuts to transportation will bring New Yorkers back to an era of struggling to get a ride, particularly for communities of color and in the outer boroughs. We will never stop working to ensure New Yorkers have access to reliable and affordable transportation in every borough.

The New York Times reports that the cap will take effect as soon as Mayor Bill de Blasio signs the bill.

“Our city is directly confronting a crisis that is driving working New Yorkers into poverty and our streets into gridlock,” de Blasio tweeted. “The unchecked growth of app-based for-hire vehicle companies has demanded action – and now we have it.”

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SoundCloud on the blockchain? Audius raises $5.5M to decentralize music

Audius wants to cut the middlemen out of music streaming so artists get paid their fair share. Coming out of stealth today led by serial entrepreneur and DJ Ranidu Lankage, Audius is building a blockchain-based alternative to Spotify or SoundCloud.

Users will pay for Audius tokens or earn them by listening to ads. Their wallet will then pay out a fraction of a cent per song to stream from decentralized storage across the network, with artists receiving roughly 85 percent — compared to roughly 70 percent on the leading streaming apps. The rest goes to compensating whomever is hosting that song, as well as developers of listening software clients, one of which will be built by Audius.

Audius plans to launch its open-sourced product in beta later this year. But it’s already found some powerful investors that see SoundCloud as vulnerable to the cryptocurrency revolution. Audius has raised a $5.5 million Series A led by General Catalyst and Lightspeed, with participation from Kleiner Perkins, Pantera Capital, 122West and Ascolta Ventures. They’re betting that Audius’ token will grow in value, making the stockpile it keeps worth a fortune. It could then sell chunks of its tokens to earn revenue instead of charging artists directly.

Audius co-founders (from left): head of product Forrest Browning, CEO Ranidu Lankage, CTO Roneil Rumburg

“The biggest problem in the music industry is that streaming is taking off and artists aren’t necessarily earning a lot of money. And it can take three months, or up to 18 months for unsigned artists, to get paid for streams,” says Lankage. “That’s what crypto really solves. You can pay artists in near real-time and make it fully transparent.”

The big question will be whether Audius can use the token economy to crack the chicken-and-egg problem of getting its first creators and listeners on a platform that might be less functionally robust than its traditional competitors. There are a lot of moving parts to decentralize, but there are also plenty of disgruntled musicians out there waiting for something better.

From Sri Lankan hip-hop star to serial entrepreneur

Most startup guys don’t have Billboard charting singles on their bio, but Lankage does. Born in Sri Lanka, his hip-hop songs in his native tongue of Sinhalese were the first of the language to be played on the BBC and MTV. He got signed to Sony and even went platinum, but left the label seeking greater control over his work. After going to Yale, he applied his music business knowledge to build a Reddit for dance music called The Drop with Twitch’s Justin Kan back in 2015.

The two teamed up again on a video version of Q&A app Quora called Whale, but that fizzled out too. Lankage’s next venture Polly, a polling tool built as a complement to Snapchat, inspired the now super-popular Instagram Stories polls and questions stickers. But after an acqui-hire by Reddit fell through, he returned to his first love: music.

“I’ve always been passionate about building tools for creators,” says Lankage. But this time, he wanted to focus on helping them turn their art into a profession. He teamed up with CTO Roneil Rumburg, an engineering partner at Kleiner Perkins who’d build a crypto wallet called Backslash, and head of product Forrest Browning, who’d sold his software metering startup StacksWare to Avi Networks.

Their goal is to build a blockchain streaming music service where listeners don’t have to understand blockchains. “A user wouldn’t even know that they have a wallet,” says Rumburg. They’ll just hear an ad every once in a while, get a subscription, or pay per stream. Since Audius is open sourced, developers will be able to build their own listening clients on top, which could specialize in discovery of certain types of music or offer their own payment schemes.

“I have known Ranidu, Forrest and Roneil for a long time, and have always been impressed with their ability to blend art, technology and business together,” says investor Niko Bonatsos of General Catalyst. “In Audius, they bring together all three skills, with a deep technical heart and a compelling solution for a very big marketplace.”

Tokens, not record labels

For starters, Audius is focusing on signing up independent electronic musicians. These are the types that might be popular on SoundCloud but actually have to pay for hosting there while not getting much back due to the platform’s weak monetization options. Don’t expect U2 and Ariana Grande on Audius, at least not yet. But the startup could differentiate by offering access to content you can’t find elsewhere.

To get artists on board, Lankage tells me Audius plans “to use token incentives.” Those willing to jump on first before there are many listeners could get a bonus allotment of tokens that might be worth more if they help popularize the service. And where artists go, their fans will follow. Audius is hoping artists will share its links first because that’s where they’ll earn the most money.

Audius has also lined up a legion of big-name advisors to help it develop its blockchain product and artist relationships. Those include Augur co-founder Jeremy Gardner, EDM artist 3LAU, EA co-founder Bing Gordon and more it can’t announce just yet.

The linchpin of Audius will be the user experience. If the system feels too complicated, listeners and artists will stay elsewhere. A DJ might earn more per stream from Audius, but if Spotify or SoundCloud offer better ways for fans to subscribe to them and generate more plays long-term, they’ll still direct supporters there. But if Audius can hide the nerdy bits while solving the music industry’s problems, it has the potential to be one of the first mainstream consumer blockchain projects that treats the tech as a utility, not just a new stock market to bet on.

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Patreon buys Memberful but keeps it indie as patronage consolidates

Patreon is forming a patronage empire. Today it acquired white-labeled subscription membership platform Memberful, which lets creators sell exclusive access to content through their own site instead of a centralized platform like Patreon. Rather than being folded into a Patreon feature, Memberful will run as an independent brand, maintaining its tiered pricing structure, though new sign-ups will get a rate closer to Patreon’s low 5 percent rake.

Terms weren’t disclosed for the deal that brings Memberful’s whole seven-person team and 500 paying clients aboard. But Patreon clearly sees rolling up competitors and complements in the patronage space as a worthy use of its $60 million raise at a $450 million valuation late last year that brought it to $105 million in funding. In June, Patreon bought Kit to let creators bundle in merchandise with their perks for paying monthly subscribers. It also bought out competitor Subbable back in 2015.

By teaming up, Patreon and Memberful will be able to provide subscription patronage services for creators, whether they want their fan community to live on Patreon, or through Memberful on their own WordPress or website with integrations of Stripe and MailChimp. Patreon already has 2 million patrons paying an average of $12 each to a total of 100,000 creators, and it expects to pay out $300 million in 2018 alone. The acquisition could let Patreon move up market, recruiting comedians, illustrators, game developers and vloggers that already have an established audience elsewhere.

“I think membership is on the up and is going to grow for the next decade,” says Patreon VP of Product Wyatt Jenkins. “Our strategy is to be an open, neutral platform,” as opposed to focusing on one type of content like YouTube with videos or Twitch with streaming where you’re locked into that platform’s tools. Memberful, launched in 2013, has bootstrapped the creation of its white-labeled tools without the need for venture funding.

Memberful gives creators like Stratechery’s Ben Thompson (who has an interview with Patreon CEO Jack Conte about the acquisition) and podcast producer Gimlet Media full control over branding, with no Patreon chrome. But it’s more expensive and also requires more work as creators have to manage their own site, customer service and payment processing. Memberful takes a 10 percent cut with no monthly fee for its limited basic tier, or $25 per month plus 4.9 percent for the full-featured pro version, though it also offers enterprise pricing. That pricing will remain for existing users, but “new customers will see a transaction fee closer to Patreon’s,” which is a flat 5 percent, a Patreon spokesperson tells me. Patreon does basically everything for a creator, but it also ropes them into the Patreon-branded ecosystem that also promotes other content makers.

Sometimes Patreon handling everything can be a problem, though. Last week it experienced a higher-than-normal volume of declines from banks of charges to patrons. That left some creators without their expected income, and required patrons to deal with the chore of calling their bank to tell them paying $1, $5 or $20 per month to their favorite creator wasn’t fraud. Patreon now tells me that “as of Friday, we let everyone know that we were back to normal decline rates, and were going to continue retrying the rest of the cards like we normally do.”

It makes sense for Patreon to race to consolidate the patronage industry as it’s being invaded by giant incumbents. Twitch, YouTube and Facebook all offer their own versions of paid subscriptions to creators that get patrons extra perks like exclusive content or badges so they stick out in chat rooms full of fans. While those platforms are all focused on video streamers, they still pose a threat to Patreon, which needs to maximize the number of successful creators it hosts in order to earn enough from its tiny cut of payments. Facebook especially could muscle in, as many creators already run their own Facebook Pages.

Asked about competition from those platforms, Jenkins said, “I think there’s a strong chance it’s a tailwind. The concept of membership is pretty new. If those big companies are going to drop millions of dollars into marketing the concept of membership I think that’s great.” He stressed the question of “Do you want to own your fan base? On YouTube, those aren’t your fans, they’re YouTube users. YouTube is incentivized to keep them watching videos so it can show ads.”

That might lead fans to unsubscribe from a creator as YouTube promotes other similar ones they could watch instead. “You don’t own the relationship.” Facebook Page admins have found that out the hard way as algorithm changes prioritize friends over public figures, making it tough to reach the followers they spent years begging to like them. If Patreon can offer creators audience growth through discovery on its interconnected network without cannibalizing anyone’s member counts, its neutrality and focus could make it a leader in this new wing of the digital economy.

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Facebook builds its own AR games for Messenger video chat

Facebook is diving deeper into in-house game development with the launch of its own version of Snapchat’s multiplayer augmented reality video chat games. Today, Facebook Messenger globally launches its first two AR video chat games that you can play with up to six people.

“Don’t Smile” is like a staring contest that detects if you grin, and then uses AR to contort your face into an exaggerated Joker’s smirk while awarding your opponent the win. “Asteroids Attack” sees you move your face around to navigate a space ship, avoiding rocks and grabbing laser beam powerups. Soon, Facebook also plans to launch “Beach Bump” for passing an AR ball back and forth, and a “Kitten Craze” cat matching game. To play the games, you start a video chat, hit the star button to open the filter menu, then select one of the games. You can snap and share screenshots to your chat thread while you play.

The games are effectively a way to pass the time while you video chat, rather than something you’d ever play on your own. They could be a hit with parents and grandparents who are away and want to spend time with a kid…who isn’t exactly the best conversationalist.

Facebook tells me it built these games itself using the AR Studio tool it launched last year to let developers create their own AR face filters. When asked if game development would be available to everyone through AR studio, a spokesperson told me, “Not today, but we’ve seen successful short-session AR games developed by the creator community and are always looking out for ways to bring the best AR content to the FB family of apps.”

For now, there will be no ads, sponsored branding or in-app purchases in Messenger’s video chat games. But those all offer opportunities for Facebook and potentially outside developers to earn money. Facebook could easily show an ad interstitial between game rounds, let brands build games to promote movie releases or product launches or let you buy powerups to beat friends or cosmetically upgrade your in-game face.

Snapchat’s Snappables games launched in April

The games feel less polished than the launch titles for Snapchat’s Snappables gaming platform that launched in April. Snapchat focused on taking over your whole screen with augmented reality, transporting you into space or a disco dance hall. Facebook’s games merely overlay a few graphics on the world around you. But Facebook’s games are more purposefully designed for split-screen multiplayer. Snapchat is reportedly building its own third-party game development platform, but it seems Facebook wanted to get the drop on it.

The AR video chat games live separately from the Messenger Instant Games platform the company launched last year. These include arcade classics and new mobile titles that users can play by themselves and challenge friends over high-scores. Facebook now allows developers of Instant Games to monetize with in-app purchases and ads, foreshadowing what could come to AR video chat games.

Facebook has rarely developed its own games. It did build a few mini-games, like an arcade pop-a-shot style basketball game and a soccer game to show off what the Messenger Instant Games platform could become. But typically it’s stuck to letting outside developers lead. Here, it may be trying to set examples of what developers should build before actually spawning a platform around video chat games.

Now with more than 1.3 billion users, Facebook Messenger is seeking more ways to keep people engaged. Having already devoured many people’s one-on-one utility chats, it’s fun group chats, video calling and gaming that could get people spending more time in the app.

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Snapchat shrinks by 3M users to 188M despite strong Q2

The Stories War has officially killed Snapchat’s growth, leading to its first user count decline ever. In Q2 2018 earnings today, Snapchat’s daily active users number shrank 1.5 percent to 188 million this quarter, down from 191 million and positive 2.9 percent user growth last quarter.

Snapchat did beat earnings expectations with $262.3 million in revenue and a loss of $0.14 while Wall Street estimated an EPS loss of $0.17 with $249.8 million in revenue. Snap’s net loss decreased by 20 percent year-over-year, so it only destroyed $353 million this quarter compared to $385 million last quarter. Snap will have some extra cash to extend its runway despite its still-massive losses thanks to a $250 million investment from Saudi Prince Al-Waleed Talal in exchange for a 2.3 percent stake in the company.

Despite its user count shrinking for the first time since its launch in 2011, the improvement to revenue (up 44 percent year-over-year) and reduced losses led Wall Street to give Snap’s shares an immediate 11 percent pop in after-hours trading. But after dodging multiple questions about how it would improve revenues and when its optimized Android app would arrive, shares fell back to just below the day’s closing price of $13.12.

Snapchat is coming off a disastrous Q1 earnings with its slowest-ever user growth rate that led to a 24 percent plunge in its share price in May. But the company has been highly volatile, seeing a 37 percent boost in its share price after surprisingly positive Q4 2017 earnings. Now it’s proving that Facebook isn’t the only social network with growth troubles.

In hopes of distracting from the shrinking DAUs, Snapchat shared a monthly active user count for the first time: 100 million monthly active users in the U.S. and Canada. Snap says this is the highest it’s ever been, yet the reveal highlights that teens are as addicted to daily Snapchat use as they once were. DAUs are a much more accurate way of measuring engagement and ad revenue potential, as opening a single notification and never returning can still register someone as an MAU.

CEO Evan Spiegel blamed the DAU shrinkage on “a slightly lower frequency of use among our user base due to the disruption caused by our redesign.” But since, he believes “we have now addressed the biggest frustrations we’ve heard” so he’s optimistic about future growth. On the other hand, he credits the redesign as producing an 8 percent increase in retention among users older than 35, demonstrating the new design is more obvious and well labeled.

During the earnings call, Snap’s new CFO Tim Stone mentioned that it’s interested in monetizing every part of the app, including “communication.” That could foreshadow more ads in the messaging inbox beyond the sponsored lenses users can play with to send augmented reality Snaps to friends. Snap is also hoping that after a decline in ad prices as it moved to self-serve auctions, ad prices and revenue will climb.

One big bright point for Snap was that its average revenue per user in the Rest Of World region grew 65 percent just this quarter to reach $0.96. Figuring out how to monetize these developing countries where buying power is lower will be key to the company’s outlook. Snap says it’s still working to re-engineer its Android app to boost performance and reduce churn, since that’s where most of its new users are coming in.

The quarter saw Snapchat escape much of the scrutiny facing other social networks regarding fake news and election interference. But it clearly still has issues with security, as Snapchat accidentally leaked its own source code, which was archived by someone who then posted it to GitHub today, though it was eventually taken down.

Snapchat started running un-skippable ads in its Shows that could be a big money maker if extended to Stories. It began experimenting with e-commerce in earnest, allowing brands to sell things people can buy without leaving the app. It also opened self-serve buying of its augmented reality lens ads that people not only post, but play with for extended periods of time. And it launched its privacy-safe Snap Kit developer platform in hopes that alliances and referral traffic would help revive its user growth.

But problematically, its competitors like Instagram Stories continued to surge, with it now having 400 million daily Stories users and WhatsApp Status now having 450 million. Combined, Facebook has over 1.1 billion daily (duplicated) Stories users across its family of apps. That reach could make it tough for Snap to compete for ad dollars. And with its user count actually decreasing, that could make for a grim future for the teen sensation.

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Chilling effects

The removal of conspiracy enthusiast content by InfoWars brings us to an interesting and important point in the history of online discourse. The current form of Internet content distribution has made it a broadcast medium akin to television or radio. Apps distribute our cat pics, our workouts, and our YouTube rants to specific audiences of followers, audiences that were nearly impossible to monetize in the early days of the Internet but, thanks to gullible marketing managers, can be sold as influencer media.

The source of all of this came from Gen X’s deep love of authenticity. They formed a new vein of content that, after breeding DIY music and zines, begat blogging, and, ultimately, created an endless expanse of user generated content (UGC). In the “old days” of the Internet this Cluetrain-manifesto-waving post gatekeeper attitude served the slacker well. But this move from a few institutional voices into a scattered legion of micro-fandoms led us to where we are today: in a shithole of absolute confusion and disruption.

As I wrote a year ago, user generated content supplanted and all but destroyed “real news.” While much of what is published now is true in a journalistic sense, the ability for falsehood and conspiracy to masquerade as truth is the real problem and it is what caused a vacuum as old media slowed down and new media sped up. In this emptiness a number of parasitic organisms sprung up including sites like Gizmodo and TechCrunch, micro-celebrity systems like Instagram and Vine, and sites catering to a different consumer, sites like InfoWars and Stormfront. It should be noted that InfoWars has been spouting its deepstate meanderings since 1999 and Alex Jones himself was a gravelly-voice radio star as early as 1996. The Internet allowed any number of niche content services to juke around the gatekeepers of propriety and give folks like Jones and, arguably, TechCrunch founder Mike Arrington, Gawker founder Nick Denton, and countless members of the “Internet-famous club,” deep influence over the last decades media landscape.

The last twenty years have been good for UGC. You could get rich making it, get informed reading it, and its traditions and habits began redefining how news-gathering operated. There is no longer just a wall between advertising and editorial. There is also a wall between editorial and the myriad bloggers who write about poop on Mt. Everest. In this sort of world we readers find ourselves at a distinct loss. What is true? What is entertainment? When the Internet is made flesh in the form of Pizzagate shootings and Unite the Right Marches, who is to blame?

The simple answer? We are to blame. We are to blame because we scrolled endlessly past bad news to get to the news that was applicable to us. We trained robots to spoon feed us our opinions and then force feed us associated content. We allowed ourselves to enter into a pact with a devil so invisible and pernicious that it easily convinced the most confused among us to mobilize against Quixotic causes and immobilized the smartest among us who were lulled into a Soma-like sleep of liking, sharing, and smileys. And now a new reckoning is coming. We have come full circle.

Once upon a time old gatekeepers were careful to let only carefully controlled views and opinions out over the airwaves. The medium was so immediate that in the 1940s broadcasters forbade the transmission of recordings and instead forced broadcasters to offer only live events. This was wonderful if you had the time to mic a children’s choir at Christmas but this rigidity was bed for a reporter’s health. Take William Shirer and Edward R. Murrow’s complaints about being unable to record and play back bombing raids in Nazi-held territories – their chafing at old ideas are almost palpable to modern bloggers.

There were other handicaps to the ban on recording that hampered us in taking full advantage of this new medium in journalism. On any given day there might be several developments, each of which could have been recorded as it happened and then put together and edited for the evening broadcast. In Berlin, for example, there might be a bellicose proclamation, troop movements through the capital, sensational headlines in the newspapers, a protest by an angry ambassador, a fiery speech by Hitler, Goring or Goebbels threatening Nazi Germany’s next victim—all in the course of the day. We could have recorded them at the moment they happened and put them together for a report in depth at the end of the day. Newspapers could not do this. Only radio could. But [CBS President] Paley forbade it.

Murrow and I tried to point out to him that the ban on recording was not only hampering our efforts to cover the crisis in Europe but would make it impossible to really cover the war, if war came. In order to broadcast live, we had to have a telephone line leading from our mike to a shortwave transmitter. You could not follow an advancing or retreating army dragging a telephone line along with you. You could not get your mike close enough to a battle to cover the sounds of combat. With a compact little recorder you could get into the thick of it and capture the awesome sounds of war.

And so now instead of CBS and the Censorship Bureau we have Facebook and Twitter. Instead of calling for the ability to record and playback an event we want permission to offer our own slants on events, no matter how far removed we are from the action. Instead of working diligently to spread only the truth, we consume the truth as others know it. And that’s what we are now chafing against: the commercialization and professionalization of user generated content.

Every medium goes through this confusion. From Penny Dreadfuls to Pall Mall sponsoring nearly every single new television show in the 1940s, media has grown, entered a disruptive phase that changes all media around it, and is then curtailed into boredom and commoditization. It is important to remember that we are in the era of Peak TV not because we all have more time to watch 20 hours of Breaking Bad. We are in Peak TV because we have gotten so good at making good shows – and the average consumer is ravenous for new content – that there is no financial reason not to take a flyer on a miniseries. In short, it’s gotten boring to make good TV.

And so we are now entering the latest stage of Internet content, the blowback. This blowback is not coming from governments. Trump, for his part, sees something wrong but cannot or will not verbalize it past the idea of “Fake News”. There is absolutely a Fake News problem but it is not what he thinks it is. Instead, the Fake News problem is rooted in the idea that all content deserves equal respect. My Medium post is as good as a CNN which is as good as an InfoWars screed about pedophiles on Mars. In a world defined by free speech then all speech is protected. Until, of course, it affects the bottom line of the company hosting it.

So Facebook and Twitter are walking a thin line. They want to remain true to the ancillary GenX credo that can be best described as “garbage in, garbage out” but many of its readers have taken that deeply open invitation to share their lives far too openly. These platforms have come to define personalities. They have come to define news cycles. They have driven men and women into hiding and they have given the trolls weapons they never had before, including the ability to destroy media organizations at will. They don’t want to censor but now that they have shareholders then they simply must.

So get ready for the next wave of media. And the next. And the next. As it gets more and more boring to visit Facebook I foresee a few other rising and falling media outlets based on new media – perhaps through VR or video – that will knock social media out of the way. And wait for more wholesale destruction of UGC creators new and old as monetization becomes more important than “truth.”

I am not here to weep for InfoWars. I think it’s garbage. I’m here to tell you that InfoWars is the latest in a long line of disrupted modes of distribution that began with the printing press and will end god knows where. There are no chilling effects here, just changes. And we’d best get used to them.

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Facebook taps banks, but for chatbots not purchase data like Google

Backlash swelled this morning after Facebook’s aspirations in financial services were blown out of proportion by a Wall Street Journal report that neglected how the social network already works with banks. Facebook spokesperson Elisabeth Diana tells TechCrunch it’s not asking for credit card transaction data from banks and it’s not interested in building a dedicated banking feature where you could interact with your accounts. It also says its work with banks isn’t to gather data to power ad targeting, or even personalize content such as which Marketplace products you see based on what you buy elsewhere.

Instead, Facebook already lets Citibank customers in Singapore connect their accounts so they can ping their bank’s Messenger chatbot to check their balance, report fraud or get customer service’s help if they’re locked out of their account without having to wait on hold on the phone. That chatbot integration, which has no humans on the other end to limit privacy risks, was announced last year and launched this March. Facebook works with PayPal in more than 40 countries to let users get receipts via Messenger for their purchases.

Expansions of these partnerships to more financial services providers could boost usage of Messenger by increasing its convenience — and make it more of a centralized utility akin to China’s WeChat. But Facebook’s relationships with banks in the current form aren’t likely to produce a steep change in ad targeting power that warrants significant heightening of its earning expectations. The reality of today’s news is out of step with the 3.5 percent share price climb triggered by the WSJ’s report.

“A recent Wall Street Journal story implies incorrectly that we are actively asking financial services companies for financial transaction data – this is not true. Like many online companies with commerce businesses, we partner with banks and credit card companies to offer services like customer chat or account management. Account linking enables people to receive real-time updates in Facebook Messenger where people can keep track of their transaction data like account balances, receipts, and shipping updates,” Diana told TechCrunch. “The idea is that messaging with a bank can be better than waiting on hold over the phone – and it’s completely opt-in. We’re not using this information beyond enabling these types of experiences – not for advertising or anything else. A critical part of these partnerships is keeping people’s information safe and secure.”

Diana says banks and credit card companies have also approached it about potential partnerships, not just the other way around as the WSJ reports. She says any features that come from those talks would be opt-in, rather than happening behind users’ backs. The spokesperson stressed these integrations would only be built if they could be privacy safe. For example, signing up to use the Citibank Messenger chatbot requires two-factor authentication through your phone.

But renewed interest in Facebook’s dealings with banks comes at a time when many are pointing to its poor track record with privacy following the Cambridge Analytica scandal, where people were duped into volunteering the personal info of them and their friends. Facebook hasn’t had a big traditional data breach where data was outright stolen, as has befallen LinkedIn, eBay, Yahoo [part of TechCrunch’s parent company] and others. But users are rightfully reluctant to see Facebook ingest any more of their sensitive data for fear it could leak or be misused.

Facebook has recently cracked down on the use of data brokers that suck in public and purchased data sets for ad targeting. It no longer lets data brokers upload Managed Custom Audience lists of user contact info or power Partner Categories for targeting ads based on interests. It also more adamantly demands that advertisers have the consent of users whose email addresses or phone numbers they upload for Custom Audience targeting, though Facebook does little to verify that consent and advertisers could still buy data sets from brokers and upload them themselves

Facebook’s statement today shows more scruples than Google, which last year struck ad measurement data deals with data brokers that have access to 70 percent of credit and debit card transactions in the U.S. That led to a formal complaint to the FTC from the Electronic Privacy Information Center. [Correction: Google tells us the deals are for ad measurement data, not ad targeting as we originally published. It only learns the aggregate purchase value, not what the items were bought, and the data is encrypted.]

Cambridge Analytica has brought on an overdue era of scrutiny regarding privacy and how internet giants use our data. Practices that were overlooked, accepted as industry standard or seen as just the way business gets done are coming under fire. Internet users aren’t likely to escape ads, and some would rather have those they see be relevant thanks to deep targeting data. But the combination of our offline purchase behavior with our online identities seems to trigger uproar absent from sites using cookies to track our web browsing and buying.

Facebook’s probably better off backing away from anything that involves sensitive data like checking account balances until Cambridge Analytica blows over and it’s proven its newfound sense of responsibility translates into a safer social networking. But at least for now, it’s not slurping up our banking data wholesale.

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15 names that would have been better than Android Pie

Let’s say, hypothetically, that you make a mobile operating system, and somewhere along the line, you decided whimsically to name major updates after alphabetical dessert foods. What a fun idea!

Sure, some letters will prove harder than others. “K” and “O” are admittedly tough, but that’s nothing that little bit of clever cross-branding can’t fix. Who doesn’t love a good Kit-Kat or Oreo? (Don’t @ me.) Others, however, will be simple. In fact, some letters will be such an embarrassment of riches. “P” is one such letter. There are a ridiculous number of options for the consonant.

So, naturally, Google went with the most boring one possible.

Pie. Freaking Android Pie. It sounds more like a rejected Philip K. Dick manuscript than mobile operating system. If this was Android 3.14, maybe, sure. The nerd jokes are just way to strong not to go all-in. But Slices jokes aside, Android 9.0 Pie feels like a missed opportunity. It seems possible that a licensing deal fell through last minute, leaving the company to settle on cake’s lesser cousin.

Sure, it’s too late to make suggestions, and honestly, Google never really listens to us in the first place, but here are a few belated replacements for the half-baked Pie.

Popsicle: This one seemed to be the front runner. In fact, the company appeared to tease in an early release of wallpaper. Popsicle would have been the perfect, colorful name for a summer OS release. Of course, there are two issues here. First, believe it or not, the name is still a trademark. Second, the name is hardly universal outside of North America. Those cold things on a stick are alternately (and incredibly delightfully) known as ice pops, freezer pops, ice lollies, ice blocks, icy poles ands ice drops, according to the always-correct editors of Wikipedia.

Pez: Another trademarked name, of course, holy moly, imagine the marketing on this one.

Pop Rocks: Ditto, but totally worth is for all the free packets of Pop Rocks we’d be getting from Google events for the next year.

Popcorn: Okay, kind of boring and a borderline dessert food at best, but still more fun than Pie.

Pecan, Pumpkin Pie: A little alliteration goes a long way.

Parfait: A delicious, refreshing summer treat, Also, everyone loves France! (Again, don’t @ me.) 

Pop-Tart: Or, if you prefer to keep it in the States, nothing says “America” quite like a mass produced, foil wrapped frosted breakfast pastry from Kellogg’s.

Peppermint Patty: A delicious treat and an iconic supporting Peanuts cast member? Yes, please.

Pudding: Sweet, gelatinous, sometimes found in pop-form. If that doesn’t say mobile operating system, what does?

Poundcake: Cake is better than Pie. I’m not backing down on this one.

Pancake: Okay, more of a breakfast food, but crepes count, right?

Phish Food: Google’s been taking jam band enthusiasts for granted for far too long. And besides, Ben & Jerry never met a cross promotion they didn’t like.

Pastry: Simple, elegant, slightly better than Pie.

Peanut Brittle: Okay, fine, maybe Pie’s better than this one. You win this round, Google. 

There’s also Petit Four, though these bite-sized French cakes actually served as the internal code name for Android 1.1.

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