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Many TikTok videos don’t start from scratch, so neither can its competitors. TikTok is all about remixes where users shoot a new video to recontextualize audio pulled from someone else’s clip, or riff on an existing meme or concept. That only works because TikTok’s had time to build up an immense armory of content to draw inspiration from.

Creators will find themselves unequipped trying to get started on TikTok copycats including Facebook Lasso, and Instagram Reels which is testing in Brazil. Direct competitors like Triller and Dubsmash are racing to build up their archives. YouTube Shorts, which The Information today reported is in development, only has a shot if Google lets users harness the 5 billion videos people already watch on YouTube each day.

This is the power of what I call “content network effect”: Each piece of content adds value to the rest. That’s TikTok.

You’re likely familiar with traditional network effect — ‘a phenomenon whereby a product or service gains additional value as more people use it.’ It’s not just the network itself that gains value, as the value delivered to each user increases too. Today’s top social networks are shining examples. The more people there are on Facebook, Instagram, or Twitter, the more people you can connect to, and the more material their relevance algorithms can draw on to fill your feeds.

If you had to choose between using two identical social networks, you’re probably going to pick the one with more friends or creators already onboard. Network effects raise the switching cost of moving to a different network. Even if it has better features, fewer ads, or less misinformation and bullying, you’re unlikely to leave a robust network behind and decamp to a sparser one. That makes scaled social networks difficult to Disrupt. All the top ones have been around for almost a decade or more.

Except for TikTok. The Chinese music/video app has managed to demonstrate a new concept of “content network effect”. In its case, each video uploaded to the app makes every future potential video more valuable. That’s because all the content on TikTok serves as remix fodder for the rest. Every song, dance, joke, prank, and monologue generates resources for other creators to exploit. It’s a bottomless well of inspiration.

Remixability, the ultimate creative tool

TikTok productizes remix culture by making it easy to “use this sound”. Tap the audio button on any video and it becomes yours. Click through and you’ll see all the other videos that use it. TikTok even offers a whole search engine for sorting through sounds by categories like Trending, Greatest Hits, Love, Gaming, and travel. Sometimes remixes are based on an idea rather than an audio. #FlipTheSwitch sees couples instantly swapping clothes when the light flicks off, and has collected over 3.6 billion videos across over 500,000 remixed versions of the video.

You can even duet with the original creator, sharing your video and theirs side-by-side simultaneously. A solo performance becomes a chorus as more duets are hitched together. Meanwhile, remixes of remixes of remixes provide an esoteric reward for hardcore users who recognize how a gag has evolved or spiraled into absurdity.

Other apps in the past have spawned video responses, hashtags, quote-tweets, surveys, and chain letters and other ways for pieces of content to interact or iterate. And there’s always been parodies. But TikTok proves the power of forging a social app with content network effect at its core.

Facilitating remixes offers a way to lower the bar for producing user generated content. You’d don’t have to be astoundingly creative or original to make something entertaining. Each individual’s life experiences inform their perspective that could let them interpret an idea in a new way.

What began with someone ripping audio of two people chanting “don’t be Suspicious, don’t be suspicious” while sneaking through a graveyard in TV show Parks & Recs led to people lipsyncing it while trying to escape their infant’s room without waking them up, leaving the house wearing clothes they stole from their sister’s closet, trying to keep a llama as a pet, and photoshopping themselves to look taller. Unless someone’s already done the work to record an audio clip, there’s nothing to inspire and enable others to put their spin on it.

TikTok’s archive vs the world

That’s why I wrote that Mark Zuckerberg misunderstands the huge threat of TikTok after the CEO told Facebook’s staff that “I kind of think about TikTok as if it were Explore for Stories”. Facebook and Instagram found massive success cloning Snapchat Stories because all they had to do was copy its features. Stories are autobiographical life vlogging. All you need are the creative tools, which Instagram and Facebook rebuilt, and people to share to, which the apps had billions of.

Zuckerberg misunderstands the huge threat of TikTok

But TikTok isn’t about sharing what you’re up to like Stories that typically start from scratch since each user’s life is different. It’s micro-entertainment powered by content network effect. If TikTok competitors give people the same video recording features and distribution potential, they’ll still be missing the archive of source material.

Facebook’s Lasso looks just like TikTok but it’s failed to gain steam since launching in November 2018. Instagram Reels smartly copies TikTok’s remixing tools, but if the Brazilian tests go well and it eventually launches in English, it will start out flat footed.

When YouTube launches Shorts, as The Information’s Alex Heath and Jessica Toonkel report it’s planning to do before the end of the year, it will be buried inside its main app. That could make it impossible to compete with a dedicated app like TikTok that opens straight to its For You page. Its one saving grace would be if YouTube unlocks its entire database of videos for remixing.

Thanks to its position as the default place to host videos and its experience with searchability that Facebook and Instagram lack, YouTube Shorts could at least have all the ingredients necessary. But given YouTube’s non-stop failures in social with everything from Google+ to YouTube Stories to its dozen deadpooled messaging apps, it may not have the chef skills necessary to combine them.

[Postscript: Or maybe YouTube will be worse at cloning TikTok than anyone. Record labels and YouTube should understand that short videos promote rather than pirate music, as TikTok propelling Lil Nas X and many other musicians up the charts prove. But if YouTube ruthlessly applies Content ID and takes down Shorts with unauthorized audio, the feature is dead in the water.]

Other social networks should consider how the concept applies to them. Could Facebook turn your friends’ photos into collage materials? Could Instagram let you share themed collections of your favorite posts? Remix culture isn’t going away, so neither will the value of fostering content network effects. With video consumption outpacing professional production, remixes are how the world will stay entertained and how amateurs can contribute creations worthy of going viral.

Read more: https://techcrunch.com/2020/04/01/content-network-effect/

Actors and influencers are coping with attention withdrawal symptoms by combining nudity with strategically placed bedding. That, and handstands

Name: #PillowChallenge.

Age: A couple of weeks, tops.

Appearance: In most cases, oddly flattering.

Whats the challenge? Its just something that influencers, celebrities, members of the public and a few pets are doing to pass the time during lockdown.

Are they making their own pillows or something? Its rather less challenging than that.

What do you do? You take a picture of yourself wearing nothing except a pillow lashed to your front with a belt.

You mean otherwise naked? Some people accessorise with handbags, high heels or sunglasses, but yes basically naked.

Then what? Then you post the result on Instagram with the accompanying hashtag #pillowchallenge, or #quarantinepillowchallenge, or some lesser variant in which the word challenge is misspelled.

And you say celebrities are getting involved? Yes Halle Berry has posed with a pillow, as has Loose Womens Nadia Sawalha and Gordon Ramsays daughter Holly.

Why? Honestly, I have no idea. I guess its just a way to stop yourself going crazy in isolation.

It doesnt sound as if its working. And its by no means the only thing celebrities are doing to occupy themselves while in quarantine. There is also the handstand challenge.

The what now? Originally, as demonstrated by Jake Gyllenhall and Tom Holland, among others, the challenge involved putting on a shirt while in a handstand with your toes against the wall.

Sounds difficult enough. But the game was raised significantly when the gymnast Simone Biles took her tracksuit bottoms offwhile doing a handstand no wall involved.

What else are they doing? Lizzo has posted a couple of half-hour meditations featuring incense, crystals and flute-playing. Steve Martin is playing the banjo. The actor Stephen Graham filmed himself getting his head shaved by his son.

So celebrities are still managing to make the global pandemic all about them? It may have felt that way at the beginning, with Madonna lecturing us from her bathtub, but now it seems more akin to an outreach programme.

Like a public service, you mean? Almost. Laura Marling is offering guitar tutorials. Stanley Tucci gave a masterclass in creating the perfect negroni. Its all rather soothing.

And you get to see inside their kitchens. There is that.

Do say: Try again, mate I dont think the pillow is supposed to be on the back.

Dont say: I strapped the pillow on while doing a handstand after a couple of negronis, and that is why Im now naked in A&E.

Read more: https://www.theguardian.com/lifeandstyle/2020/apr/22/the-pillow-challenge-how-celebrities-found-a-new-way-to-get-naked-in-public

The flood of status symbol content into Instagram Stories has run dry. No one is going out and doing anything cool right now, and if they are, they should be shamed for it. Beyond sharing video chat happy hour screenshots and quarantine dinner concoctions, our piece-by-piece biographies have ground to a halt. Oddly, what remains feels more social than social networks have in a long time.

A house-arrest Houseparty, via StoicLeys

With no source material, we’re doing it live. Coronavirus has absolved our desire to share the recent past. The drab days stuck inside blur into each other. The near future is so uncertain that there’s little impetus to make plans. Why schedule an event or get excited for a trip just to get your heartbroken if shelter-in-place orders are extended? We’re left firmly fixed in the present.

What is social media when there’s nothing to brag about? Many of us are discovering it’s a lot more fun. We had turned social media into a sport but spent the whole time staring at the scoreboard rather than embracing the joy of play.

But thankfully, there are no Like counts on Zoom .

Nothing permanent remains. That’s freed us from the external validation that too often rules our decision making. It’s stopped being about how this looks and started being about how this feels. Does it put me at peace, make me laugh, or abate the loneliness? Then do it. There’s no more FOMO because there’s nothing to miss by staying home to read, take a bath, or play board games. You do you.

Being social animals, what feels most natural is to connect. Not asynchronously through feeds of what we just did. But by coexisting concurrently. Professional enterprise technology for agenda-driven video calls has been subverted for meandering, motive-less togetherness. We’re doing what many of us spent our childhoods doing in basements and parking lots: just hanging out.

It’s time to Houseparty

For evidence, just look at group video chat app Houseparty, where teens aimlessly chill with everyone’s face on screen at once. In Italy, which has tragically been on lock down since COVID-19’s rapid spread in the country, Houseparty wasn’t even in the top 1500 apps a month ago. Today it’s the #1 social app, and the #2 app overall second only to Zoom which is topping the charts in tons of countries.

Houseparty topped all the charts on Monday, when Sensor Tower tells TechCrunch the app’s download rate was 323X higher than its average in February. As of yesterday it was #1 in Portugal (up 371X) and Spain (up 592X), as well as Peru, Argentina, Chile, Austria, Belgium, and the U.K. I despite being absent from the chart a week earlier. Apptopia tells me Houseparty saw 25 downloads in Spain on March 1st and 40,000 yesterday.

Houseparty rockets to #1 in many countries

A year ago Houseparty was nearly dead, languishing at #245 on the US charts before being acquired by Fortnite-maker Epic in June. Our sudden need for unmediated connection has brought Houseparty roaring back to life, even if Epic has neglected to update it since July.

“Houseparty was designed to connect people in the most human way possible when they are physically apart” the startup’s co-founder Ben Rubin tells me. “This is a time of isolation and uncertainty for us all. I’m grateful that we created a product that gives a sense of human connection to millions people during this critical moment.”

Around the world, apps for direct connection are spiking. Google Hangouts rules in Sweden. Discord for chat while gaming is #1 in France. Slack clone Microsoft Teams is king in the Netherlands. After binging through Netflix, all that’s left to entertain us is each other.

Undivided By Geography

If we’re all stuck at home, it doesn’t matter where that home is. We’ve been released from the confines of which friends are within a 20 minute drive or hour-long train. Just like students are saying they all go to Zoom University since every school’s classes moved online, we all now live in Zoom Town. All commutes have been reduced to how long it takes to generate an invite URL.

Nestled in San Francisco, even pals across the Bay in Berkeley felt far away before. But this week I had hour-long video calls with my favorite people who typically feel out of reach in Chicago and New York. I spent time with babies I hadn’t met in person. And I kept in closer touch with my parents on the other coast, which is more vital and urgent than ever before.

Playing board game Codenames over Zoom with friends in New York and North Carolina

Typically, our time is occupied by acquaintances of circumstance. The co-workers who share our office. The friends who happen to live in the neighborhood. But now we’re each building a virtual family completely of our choosing. The calculus has shifted from who is convenient or who invites us to the most exciting place, to who makes us feel most human.

Even celebrities are getting into it. Rather than pristine portraits and flashy music videos, they’re appearing raw, with crappy lighting, on Facebook and Instagram Live. John Legend played piano for 100,000 people while his wife Chrissy Teigen sat on screen in a towel looking salty like she’s heard “All Of Me” far too many times. That’s more authentic than anything you’ll get on TV.

And without the traditional norms of who we are and aren’t supposed to call, there’s an opportunity to contact those we cared about in a different moment of our lives. The old college roommate, the high school buddy, the mentor who gave you you’re shot. If we have the emotional capacity in these trying times, there’s good to be done. Who do you know who’s single, lives alone, or resides in a city without a dense support network?

Reforging those connections not only surfaces prized memories we may have forgotten, but could help keep someone sane. For those who relied on work and play for social interaction, shelter-in-place is essentially solitary confinement. There’s a looming mental health crisis if we don’t check in on the isolated.

The crisis language of memes

It can be hard to muster the energy to seize these connections, though. We’re all drenched in angst about the health impacts of the virus and financial impacts of the response. I certainly spent a few mornings sleeping in just to make the days feel shorter. When all small talk leads to rehashing our fears, sometimes you don’t have anything to say.

Luckily we don’t have to say anything to communicate. We can share memes instead.

My father-in-law sent me this. That’s when you know memes have become the universal language

The internet’s response to COVID-19 has been an international outpour of gallow’s humor. From group chats to Instagram joke accounts to Reddit threads to Facebook groups like quarter-million member “Zoom Memes For Quaranteens”, we’re joining up to weather the crisis.

A nervous laugh is better than no laugh at all. Memes allow us to convert our creeping dread and stir craziness into something borderline productive. We can assume an anonymous voice, resharing what some unspecified other made without the vulnerability of self-attribution. We can dive into the creation of memes ourselves, killing time under house arrest in hopes of generating smiles for our generation. And with the feeds and Stories emptied, consuming memes offers a new medium of solidarity. We’re all in this hellscape together so we may as well make fun of it.

The web’s mental immune system has kicked into gear amidst the outbreak. Rather than wallowing in captivity, we’ve developed digital antibodies that are evolving to fight the solitude. We’re spicing up video chats with board games like Codenames. One-off livestreams have turned into wholly online music festivals to bring the sounds of New Orleans or Berlin to the world. Trolls and pranksters are finding ways to get their lulz too, Zoombombing webinars. And after a half-decade of techlash, our industry’s leaders are launching peer-to-peer social safety nets and ways to help small businesses survive until we can be patrons in person again.

Rather than scrounging for experiences to share, we’re inventing them from scratch with the only thing we’re left with us in quarantine: ourselves. When the infection waves pass, I hope this swell of creativity and in-the-moment togetherness stays strong. The best part of the internet isn’t showing off, it’s showing up.

Read more: https://techcrunch.com/2020/03/21/showing-up-not-showing-off/

Following Spotify’s confirmation of a new Stories feature, initially being tested by social media influencers, the company this morning announced it will now allow artists to reach their Instagram fan bases in a new way, too. However, in this case, they aren’t creating Spotify Stories they can market elsewhere on their social media, but instead are able to share their unique video art from Spotify’s Canvas feature directly to their Instagram.

Canvas launched into beta last fall, allowing artists to replace the album art that appears when a song is playing with a moving, visual experience that plays in a short loop. Canvas videos have had mixed reviews, as some users find the imagery distracting while others seem to prefer it.

Starting today, the thousands of artists in the Canvas beta will be able to share their looping videos to Instagram with just a tap.

From the app’s Artists profile, each track that included a Canvas will have a “Share” icon next to it. By tapping that icon, artists can share the song and its Canvas to Instagram Stories. The post will look like a regular Spotify share, with cover art and a link to play the track on Spotify. However, now their looping video will be the backdrop.

Currently, the Canvas beta is only available to those using the Spotify for Artists app on iOS. Spotify says it’s working to bring the sharing feature to Android users soon.

In addition, fans seeing the Canvas on Instagram aren’t counted in the Canvas metrics, unless they click through to Spotify, the company says.

The feature itself is intended to aid artists who are marketing their new songs to fans on Instagram, as well as for highlighting updates to Canvas — like those that are updated to include clips from a new music video, new art or live performances, for example.

One high-profile artist who’s taking advantage of Canvas is Billie Eilish — the artist who just swept last night’s Grammy Awards by winning the four biggest prizes — best new artist, record of the year, album of the year and song of the year. Eilish has used Canvas to share animated versions of fan art, which helps her to better engage with her fan base.

Spotify claims that adding a high-quality Canvas has increased track shares by up to 200%, in addition to lifting streams, saves and artist profile visits. By expanding Canvas to Instagram, those shares should bump up even higher, the company believes.

Despite its social media media-inspired features, like the new Stories addition or the looping videos of Canvas, Spotify doesn’t intend for its streaming app to become a new social platform. Instead, its focus is on building features that artists and listeners can leverage to better connect with social media fan bases elsewhere — either to help market themselves and their music or to improve discoverability of new music among their followers.

Artists interested in Canvas can sign up for the waitlist here.

Read more: https://techcrunch.com/2020/01/27/get-ready-to-see-spotifys-looping-videos-on-instagram/

YouTuber Lia Marie Johnson posted a head-turning stream to her Instagram Live this week, and fans are concerned.

The 23-year-old content creator previously caused a stir among her fans after she posted a number of similarly concerning Instagram Live streams over the summer. The latest video has fans again rallying around the young star, asking about her well-being and urging those around her to keep a close eye.

Johnson first reached mainstream attention in 2011 with her presence on Fine Bros. EntertainmentsKids React series. Since those days, she has created a following all her own. Her personal YouTube channel has 1.8 million subscribers, and her Instagram boasts a similar following. Since her days onKids React, Johnson has pursued a successful career in music and on YouTube.

Fans began worrying about Johnsons state of mind after she posted a lengthy video on Christmas Eve. Over the course of more than two hours, Johnson rambled in slightly slurred tones and insisted to viewers that she was not on drugs. She instead insisted that her behavior was due to her mindset, rather than any mind-altering substance. As fans heaped on with questions about her mental health and behavior, Johnson grew increasingly upset.

After a brief pause, Johnson returned with an unidentified bottle wrapped in a black bag. She drank from it and continued interacting with viewers, singing songs and chatting away. I would like all of you to stay sober over the holiday season, she said at one point. Stay as sober as you can, because your family loves you and youre needed and wanted and totally loved.

Many of Johnsons fans felt unease at the video, expressing their concern in the comments and asking after Johnsons well-being. Others noted that the singers actions were normal, and those concerned were merely unaccustomed to Johnsons personality and interactions. The disquiet over her condition even spread to Twitter, where Drama Alert host Keemstar posted about the video.

Lia Marie Johnson is going to die next unless someone saves this girl, he wrote. Ive never known her or met her. but if anyone seeing this does please reach out to her.

Instagram is launching a video-music remix feature to finally fight back against Chinese social rival TikTok. Instagram Reels lets you make 15-second video clips set to music and share them as Stories, with the potential to go viral on a new Top Reels section of Explore. Just like TikTok, users can soundtrack their Reels with a huge catalog of music, or borrow the audio from anyone else’s video to create a remix of their meme or joke.

Reels is launching today on iOS and Android but is limited to just Brazil, where it’s called Cenas. Reels leverages all of Instagram’s most popular features to Frankenstein-together a remarkably coherent competitor to TikTok’s rich features and community of 1.5 billion monthly users, including 122 million in the U.S., according to Sensor Tower. Instead of trying to start from scratch like Facebook’s Lasso, Instagram could cross-promote Reels heavily to its own billion users.

But Instagram’s challenge will be retraining its populace to make premeditated, storyboarded social entertainment instead of just spontaneous, autobiographical social media like with Stories and feed posts.

“I think Musically before TikTok, and TikTok deserve a ton of credit for popularizing this format,” admits Instagram director of product management Robby Stein . That’s nearly verbatim what Instagram founder Kevin Systrom told me about Snapchat when Instagram launched Stories. “They deserve all the credit,” he said before copying Snapchat so ruthlessly that it stopped growing for three years.

Chinese startups were always criticized for copying American companies, but Reels’ launch signals the grand shift to cloning in the opposite direction.

Yet Stein insists, “No two products are exactly the same, and at the end of the day, sharing video with music is a pretty universal idea we think everyone might be interested in using. The focus has been on how to make this a unique format for us.” The key to that divergence? “Your friends are already all on Instagram. I think that’s only true of Instagram.”

Throwing around Instagram’s weight

Starting in Brazil before potentially rolling out elsewhere could help Instagram nail down its customization and onboarding strategy. Luckily, Brazil has a big Instagram population, a deeply musical culture and a thriving creator community, says Stein.

It also isn’t completely obsessed with TikTok yet, like fellow developing market India. As Facebook CEO Mark Zuckerberg said about trying to grow Lasso, “We’re trying to first see if we can get it to work in countries where TikTok is not already big.” Instagram used this internationalization strategy to make Stories a hit where Snapchat hadn’t expanded yet, and it worked surprisingly well.

Instagram also has the U.S. government on its side for a change. While its parent company Facebook is being investigated for antitrust and privacy violations, TikTok is also under scrutiny.

Chinese tech giant ByteDance’s $1 billion 2017 acquisition of Musical.ly, another Chinese app similar to TikTok but with traction in the U.S., is under review by the Committee on Foreign Investment in the United States. ByteDance turned Musical.ly into TikTok, but it could have to unwind the acquisitions or make other concessions to U.S. regulators to protect the country’s national security. Several senators have also railed against TikTok injecting Chinese social values via censorship into the American discourse.

Perhaps Instagram’s best shot at differentiation is through its social graph. While TikTok is primarily a feed broadcasting app, Instagram can work Reels into its Close Friends and Direct messaging features, potentially opening a new class of creators — shy ones who only want to share with people they trust not to make fun of them. A lot of this lipsyncing / dancing / humor skit content can be kinda cringey when people don’t get it just right.

How Instagram Reels works

Users will find it in the Instagram Stories shutter modes tray next to Boomerang and Super-Zoom. They can either record with silence, borrow the audio of another video they find through hashtag search or Explore, or search a popular or trending song. Some audio snippets will even get their own pages showing off top videos made with them. Teaching users to poach audio for their remixes will be essential to getting Reels off the ground.

Facebook’s enormous music collection secured from all the major labels and many indie publishers powers Reels. Users pick the chunk of the song they want, and can then record or upload multiple video clips to fill out their Reel. Instagram has been building toward this moment since June 2018, when it first launched its Music stickers.

Instagram is adding some much-needed editing tools for Reels, like timed captions so words appear in certain scenes, and a ghost overlay option for lining up transitions so they look fluid. Still, Reels lacks some of the video filters and special effects that TikTok has purposefully built to power certain gags and cuts between scenes. Stein says those are coming.

Once users are satisfied with their editing job, they can post their Reel to Stories or Close Friends, or message it to people. If shared publicly, it also will be eligible to appear in the Top Reels section of the Explore tab. Most cleverly, Instagram works around its own ephemerality by letting users add their Reels to their profile’s non-disappearing Highlights for a shot to show up on Explore even after their 24-hour story expires.

Instead of having to monetize later somehow, Instagram can immediately start making money from Reels since it already shows ads in Stories and the Explore tab. The feature is sure to get plenty of exposure, as 500 million Instagram users already open Stories and Explore each month. Still, Reels’ composer and feed will be buried a few extra taps away from the homescreen compared to TikTok.

TikTok screenshots

Cloning TikTok isn’t just about the features, though Reels does a good job of copying the core ones. Creating scripted content is totally new for most Instagram users, and could feel too showy or goofy for an app known for its seriousness.

TikTok is 100% about acting ridiculous just to make people smile, your personal image be damned. That’s the opposite of the carefully manicured image of glamour and glory most Instagram users try to project. It could feel counter-intuitively more awkward to perform comedy in front of your real friends and fans than it does on a dedicated world stage.

Zuckerberg misunderstands the huge threat of TikTok

Instagram, and Instagrammers, may have to lose their artful, cool aesthetic to embrace the silliness of tomorrow’s social entertainment. But if Reels can change Instagram’s culture to one where we’re comfortable looking stupid, it could beat TikTok’s talent competition by opening a million private karaoke rooms for goofing off just with friends.

Read more: https://techcrunch.com/2019/11/12/instagram-reels/

Nike has long been synonymous with premium sneakers and other sports gear, but now the company could be extending its brand into another area — digital media — thanks to the rumored acquisition of a Seattle-based startup.

TechCrunch has learned and confirmed that the multibillion-dollar sports giant has acquired TraceMe, which originally built an app to let fans engage with sports stars and other celebrities before later pivoting into a service called Tally, a platform aimed at sports teams, broadcasters and venues to help fans engage around sporting events.

TraceMe was originally founded by Russell Wilson, the champion quarterback of the Seattle Seahawks, who was the executive chairman of the startup. The company had raised at least $9 million from investors that included the Seattle-based Madrona Venture Group and Bezos Expeditions (Amazon CEO Jeff Bezos’ fund), as well as YouTube co-founder Chad Hurley and others, and it was last valued, in 2017, at $60 million.

Nike confirmed the acquisition to us in a short statement: “NIKE, Inc. has acquired TraceMe to supplement the company’s content strategy on Nike-owned platforms,” a spokespersonsaid in an email.

Our source said the deal closed in recent weeks and that “it was a good outcome” for the company and investors. It involved both IP — the main interest, the source said, was in TraceMe’s tech rather than Tally’s — and the team.

Indeed, at least eight of them, including TraceMe’s CEO Jason LeeKeenan, an ex-Hulu executive, are now listing Nike as their place of employment. LeeKeenan describes his new role as the head of Nike Seattle. Others on the team now have taken roles that include software engineers, head of product and product designers.

No one at TraceMe responded to our requests for comment. GeekWire (which likely got the same tip we did) published a post noting that it had a source that confirmed the deal.

The athletic footwear giant Nike is no stranger to the world of technology: it has been a longtime collaborator with the likes of Apple to develop apps for its devices and has been an early mover on the concept of bringing and integrating cutting-edge (yes, possibly gimmicky) tech into its footwear and other gear. And that’s before you consider Nike as an e-commerce force.

But while the dalliance between sports, tech and fashion is well established, this deal opens up a different frontier for the company.

It’s very rare for Nike to make an acquisition, but it makes sense that if it were going to do some M&A, it would be in the area of digital media and picking up engineers to execute on a wider vision in that area.

The company is best known, of course, for its shoes and related sporty clothes, which it has for a long time created in co-branding with the biggest sports stars and has more recently started to extend to a wider circle of celebrities and hot fashion labels in a spirit of sporty street style. These have included the likes of so-cool Supreme, Travis Scott and seemingly other tentative forays into music culture.

Nike overshadows all other sports shoe brands in size, with its current market cap at nearly $117 billion, more than twice that of its closest competitor, Adidas . But Adidas has been stealing a march when it comes to partnerships with a wide network of celebrities (even if Drake prefers checks over stripes).

While it isn’t clear yet how and if Nike will be using the startup’s existing services, you could see how a deal like this could help Nike start to think about how it might leverage the collaborations and endorsements it already has in place into experiences beyond shoes, advertising and athletic performance.

In this age of Instagram and influencers playing a massive role in shifting consumer sentiment (and dollars), this could give Nike a shot at building its own media platform, independent of these, on its own terms.

This is a bigger trend that we’re seeing across other consumer categories. Consider how companies like Spotify have extended beyond simple music streaming, investing in building tools to help artists on its platform with marketing and expanding their brands. Selling shoes means selling a concept, and that concept needs to have a foothold in a wider digital experience. 

Updated with comment from Apple.

Read more: https://techcrunch.com/2019/10/11/source-nike-has-picked-up-russell-wilsons-tally-traceme-in-a-rare-acquisition/

Spotify users can now share their favorite music and podcasts with friends on Snapchat, the company announced this morning, with added support for sharing a song, playlist, artist profile or podcast either directly to your friends on Snapchat or to your Snapchat Story.

Snapchat is now one of several destinations that Spotify users can share to, along with WhatsApp, Messages, Messenger, Twitter, Instagram Stories and, as of just last week, Facebook Stories.

Using the new feature is the same as with any other sharing option — you tap the three-dot share menu in the top-right of the app’s interface and choose Snapchat from the drop-down list. Snapchat will open with a new Snap and the full album art included. You can then edit and send the Snap as usual.

Recipients of your Snap will be able to tap the context card to listen to the music or podcast you’ve shared.

In addition to simply sharing music with friends, the feature also will make it possible for Spotify artists and their teams to promote their music to Snapcat’s 203 million daily users — most of whom are within the coveted teen to young adult demographic that Spotify’s artists are hoping to reach.

The feature itself is powered by Snap’s Creative Kit (a part of Snap Kit), which lets users share media from a developer’s app or website.

Spotify is now one of more than 200 apps that have integrated with Snap Kit following the June 2018 debut of the platform, which aims to offer a more private alternative to Facebook. In many cases, however, support for Snapchat is being added to other apps and sites alongside their existing support for Facebook and Instagram — as in the case here.

The expansion to Spotify’s sharing feature comes at a time when the streamer is looking for growth — especially in light of growing competition from rivals like Amazon Music and Apple Music. The former benefits from integrations with Prime and Alexa, the latter from its preinstallation on Apple devices (and possibly a new bundle with Apple TV+, as we’ll find out tomorrow at Apple’s iPhone event).

Spotify, meanwhile, notably missed its user estimates in its Q2 2019 earnings, with 8 million new subscribers in the quarter instead of the expected 8.5 million. With expanded social sharing options, it hopes to reach millions more users who may later convert to paying customers.

Read more: https://techcrunch.com/2019/09/09/spotify-users-can-now-share-music-and-podcasts-to-snapchat/

UK MPs have called for the government to regulate the games industry’s use of loot boxes under current gambling legislation — urging a blanket ban on the sale of loot boxes to players who are children.

Kids should instead be able to earn in-game credits to unlock look boxes, MPs have suggested in a recommendation that won’t be music to the games industry’s ears.

Loot boxes refer to virtual items in games that can be bought with real-world money and do not reveal their contents in advance. The MPs argue the mechanic should be considered games of chance played for money’s worth and regulated by the UK Gambling Act.

The Department for Digital, Culture, Media and Sport’s (DCMS) parliamentary committee makes the recommendations in a report published today following an enquiry into immersive and addictive technologies that saw it take evidence from a number of tech companies including Fortnite maker Epic Games; Facebook-owned Instagram; and Snapchap.

The committee said it found representatives from the games industry to be “wilfully obtuse” in answering questions about typical patterns of play — data the report emphasizes is necessary for proper understanding of how players are engaging with games — as well as calling out some games and social media company representatives for demonstrating “a lack of honesty and transparency”, leading it to question what the companies have to hide.

“The potential harms outlined in this report can be considered the direct result of the way in which the ‘attention economy’ is driven by the objective of maximising user engagement,” the committee writes in a summary of the report which it says explores “how data-rich immersive technologies are driven by business models that combine people’s data with design practices to have powerful psychological effects”.

As well as trying to pry information about of games companies, MPs also took evidence from gamers during the course of the enquiry.

In one instance the committee heard that a gamer spent up to £1,000 per year on loot box mechanics in Electronic Arts’s Fifa series.

A member of the public also reported that their adult son had built up debts of more than £50,000 through spending on microtransactions in online game RuneScape. The maker of that game, Jagex, told the committee that players “can potentially spend up to £1,000 a week or £5,000 a month”.

In addition to calling for gambling law to be applied to the industry’s lucrative loot box mechanic, the report calls on games makers to face up to responsibilities to protect players from potential harms, saying research into possible negative psychosocial harms has been hampered by the industry’s unwillingness to share play data.

“Data on how long people play games for is essential to understand what normal and healthy — and, conversely, abnormal and potentially unhealthy — engagement with gaming looks like. Games companies collect this information for their own marketing and design purposes; however, in evidence to us, representatives from the games industry were wilfully obtuse in answering our questions about typical patterns of play,” it writes.

“Although the vast majority of people who play games find it a positive experience, the minority who struggle to maintain control over how much they are playing experience serious consequences for them and their loved ones. At present, the games industry has not sufficiently accepted responsibility for either understanding or preventing this harm. Moreover, both policy-making and potential industry interventions are being hindered by a lack of robust evidence, which in part stems from companies’ unwillingness to share data about patterns of play.”

The report recommends the government require games makers share aggregated player data with researchers, with the committee calling for a new regulator to oversee a levy on the industry to fund independent academic research — including into ‘Gaming disorder‘, an addictive condition formally designated by the World Health Organization — and to ensure that “the relevant data is made available from the industry to enable it to be effective”.

“Social media platforms and online games makers are locked in a relentless battle to capture ever more of people’s attention, time and money. Their business models are built on this, but it’s time for them to be more responsible in dealing with the harms these technologies can cause for some users,” said DCMS committee chair, Damian Collins, in a statement.

“Loot boxes are particularly lucrative for games companies but come at a high cost, particularly for problem gamblers, while exposing children to potential harm. Buying a loot box is playing a game of chance and it is high time the gambling laws caught up. We challenge the Government to explain why loot boxes should be exempt from the Gambling Act.

“Gaming contributes to a global industry that generates billions in revenue. It is unacceptable that some companies with millions of users and children among them should be so ill-equipped to talk to us about the potential harm of their products. Gaming disorder based on excessive and addictive game play has been recognised by the World Health Organisation. It’s time for games companies to use the huge quantities of data they gather about their players, to do more to proactively identify vulnerable gamers.”

The committee wants independent research to inform the development of a behavioural design code of practice for online services. “This should be developed within an adequate timeframe to inform the future online harms regulator’s work around ‘designed addiction’ and ‘excessive screen time’,” it writes, citing the government’s plan for a new Internet regulator for online harms.

MPs are also concerned about the lack of robust age verification to keep children off age-restricted platforms and games.

The report identifies inconsistencies in the games industry’s ‘age-ratings’ stemming from self-regulation around the distribution of games (such as online games not being subject to a legally enforceable age-rating system, meaning voluntary ratings are used instead).

“Games companies should not assume that the responsibility to enforce age-ratings applies exclusively to the main delivery platforms: All companies and platforms that are making games available online should uphold the highest standards of enforcing age-ratings,” the committee writes on that.

“Both games companies and the social media platforms need to establish effective age verification tools. They currently do not exist on any of the major platforms which rely on self-certification from children and adults,” Collins adds.

During the enquiry it emerged that the UK government is working with tech companies including Snap to try to devise a centralized system for age verification for online platforms.

A section of the report on Effective Age Verification cites testimony from deputy information commissioner Steve Wood raising concerns about any move towards “wide-spread age verification [by] collecting hard identifiers from people, like scans of passports”.

Wood instead pointed the committee towards technological alternatives, such as age estimation, which he said uses “algorithms running behind the scenes using different types of data linked to the self-declaration of the age to work out whether this person is the age they say they are when they are on the platform”.

Snapchat’s Will Scougal also told the committee that its platform is able to monitor user signals to ensure users are the appropriate age — by tracking behavior and activity; location; and connections between users to flag a user as potentially underage. 

The report also makes a recommendation on deepfake content, with the committee saying that malicious creation and distribution of deepfake videos should be regarded as harmful content.

“The release of content like this could try to influence the outcome of elections and undermine people’s public reputation,” it warns. “Social media platforms should have clear policies in place for the removal of deepfakes. In the UK, the Government should include action against deepfakes as part of the duty of care social media companies should exercise in the interests of their users, as set out in the Online Harms White Paper.”

“Social media firms need to take action against known deepfake films, particularly when they have been designed to distort the appearance of people in an attempt to maliciously damage their public reputation, as was seen with the recent film of the Speaker of the US House of Representatives, Nancy Pelosi,” adds Collins.

Read more: https://techcrunch.com/2019/09/12/loot-boxes-in-games-are-gambling-and-should-be-banned-for-kids-say-uk-mps/

In 2017, Matthew Peltier walked barefoot into a pitch meeting with venture capitalists. Young, male, man bun intact, he certainly resembled the stereotypical successful entrepreneur, but it was his startup, an app designed to bring social media stars and their fans into conversation, that drew skepticism.

Shimmur, as it was called, ultimately succeeded in raising about $7 million from Greycroft, Arena Ventures, Luma Launch, Right Side Capital Management and Techstars, according to PitchBook, but the business never took off. That is until a pivot to direct messaging in 2018 attracted the support of Hollywood talent manager Guy Oseary and his Sound Ventures investment partner Ashton Kutcher, who jumped on board to relaunch Shimmur, now known as Community.

The Santa Monica-based company has raised nearly $35 million in the form of two convertible notes following a recapitalization that occurred alongside its rebranding earlier this year, TechCrunch has learned. Investors, including the Sony Innovation Fund, have valued the text marketing platform at upwards of $200 million, sources tell TechCrunch. A spokesperson for Community, however, said there is currently “no valuation attached to the company” because of the nature of the recap and convertible notes, and declined to comment further on fundraising activity.

Community has yet to complete a public launch and is in the process of onboarding both companies and celebrities. We’re told efforts to generate attention for the business will increase in the next couple of weeks.

Shimmur was initially conceived of in 2014 as a Reddit-style mobile application that encouraged users to join “Tribes,” or groups, where they could create and upload content about their favorite YouTube or Instagram stars. Social media accounts affiliated with Shimmur went dark in 2017, and in early 2018 the site began redirecting to Digits.Chat, a service currently in private beta assumedly linked to Community. Now in their second act, Peltier and Community co-founder Josh Rosenheck are committed to building a platform for influencers and fans to interact at scale.

Questions of Community’s business began to surface in January 2019, when Ashton Kutcher took to Twitter to subtly promote the service with a phone number and a simple request to text him. Naturally, many assumed the tweet included the actor and investor’s personal cell number. In reality, he’d been working with Community to develop a better method of communication with his followers. This week, the actor resurfaced on Twitter to promote the service again. This time stating that the phone number included in the tweet would be “the only place [he] responds to public queries” because the “open web has just become too toxic.”

This reporter, of course, followed up Kutcher on his offer and sent a text to his now preferred contact. Instantaneously, I received this reply: “Ashton here. This is an auto-text to let you know I got your message, the rest will be from me. Click the link so I can respond to you. I likely can’t respond to everything but I’ll try to be in touch. Dream bigger.” The message was accompanied by a link to a Community sign-up page for Kutcher-specific updates. The fine print read that the personal messages and automated text alerts from Kutcher “may be marketing in nature,” but little other information was provided.

Community

While Kutcher has used his large Twitter following to spread awareness for Community, Guy Oseary has remained mum. Sources tell TechCrunch, however, that Oseary is a “co-founder” of Community, further evidence he’s put money in the business and perhaps adopted a co-founder title because of the nature of his investment. Oseary is not only a co-founder of Sound Ventures alongside Kutcher, but he’s also a longtime executive at Maverick, an entertainment and music management business behind the likes of Madonna and U2. His network would be much more valuable to Community than VC dollars.

Sound Ventures, Kutcher and Oseary’s venture capital fund, did not respond to a request for comment. Community declined to name its investors, but did say Oseary is “not a co-founder,” declining to provide additional details on his affiliation with the business.

On its website, Community describes itself as a tool that enables its clients, e.g. influencers, musicians, athletes, brands, actors, their agents and others, to have direct and meaningful communication with their “community members” using a 10-digit phone number provided by Community: “Imagine getting to know and interact with your audience as individuals—with names and faces, interests and opinions, hometowns and pronouns. Imagine reaching every single one of them,” the company writes.

Peltier, in the company’s first blog post published in June, emphasized the power of text messaging, citing an Adobe statistic that 90% of text messages are read within three seconds. Peltier also described Community’s business model, noting that they are not an ads business, rather, clients pay Community monthly or annual service fees “for 100% audience reach and limitless segmentation, in a climate free from bullying and toxicity.” Community’s terms of service agreement additionally states that once a subscription is initiated, clients can create and send text marketing campaigns to promote themselves or products with members of their community.

If Community sounds familiar — it should. Its efforts to leverage SMS to facilitate celebrity-fan relationships is akin to SuperPhone. Founded by musician Ryan Leslie in 2015, SuperPhone is a mobile messaging platform designed to meet the needs of entrepreneurs, entertainers and anyone else that juggles clients or sales contacts.

“SuperPhone is the first foray into personal relationship management,” Leslie told TechCrunch last year. The startup has raised a total of roughly $5 million at a $10 million valuation, according to PitchBook. In a blog post addressing Kutcher’s January tweet, Leslie welcomed the competition to the text marketing space.

“The game is changing, messaging is here to stay, and platforms are stepping up to help you leverage the power of this currently undervalued direct communication channel,” Leslie wrote. “This is my game. SuperPhone was conceived, developed, deployed, and battle-tested years before this week’s A-list endorsement of text over social.”

We reached out to SuperPhone for comment and in a very on-brand reply, a spokesperson for the business told me to submit my phone number to Leslie here and “unlike Ashton, Ry will text you right back once you introduce yourself.”

Commence the battle for text marketing dominance.

Read more: https://techcrunch.com/2019/07/25/community-ashton-kutcher-tweets/