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Tag Archives: Social media

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/

Short-form video app TikTok announced today it’s committing more than $250 million to support front-line workers, educators and local communities affected by the COVID-19 pandemic, as well as an additional $125 million in advertising credits to public health organizations and businesses looking to rebuild. Some of these funds are being directed toward major health organizations, like the CDC and WHO, while other funds are aimed at helping individuals or smaller businesses.

The $250 million includes three separate efforts: the TikTok Health Heroes Relief Fund, TikTok Community Relief Fund and TikTok Creative Learning Fund.

The first is the most significant effort, as it provisions $150 million in funds for things like medical staffing, supplies and hardship relief for healthcare workers. Included in these distributions is $15 million to the CDC Foundation to support surge staffing for local response efforts through state and local governments, and $10 million for the WHO COVID-19 Solidarity Response Fund. 

In addition, TikTok, which is owned by Chinese internet giant ByteDance, said its employee matching program will deliver aid to organizations like the Red Cross and Direct Relief.

TikTok also said it’s working with global and local partners to deliver masks and other personal protective equipment to hospitals in India, Indonesia, Italy, South Korea and the U.S., among others. Earlier this month, TikTok announced it had donated 400,000 hazmat medical protective suits and 200,000 masks to protect doctors and front-line medical staff in India, for example.

The TikTok Community Relief Fund, meanwhile, is focused in particular on vulnerable communities impacted by COVID-19.

This effort involves allotting $40 million in cash for local organizations that serve representatives of TikTok’s user community — including musicians, artists, nurses, educators and families. The fund has already been used to donate $3 million to After-School All-Stars, which is providing food for families who had previously relied on school lunches, and $2 million for MusiCares, which supports artists, songwriters and music professionals whose livelihoods have been disrupted.

As a part of the Community Relief Fund, TikTok will also be matching $10 million in donations from its community.

The third effort, TikTok’s Creative Learning Fund, will provide $50 million in grants to educators, professional experts and nonprofits working on distance learning efforts. TikTok sees itself as a potential home for creative remote learning efforts, but didn’t announce any specific plans on this front.

Outside of the funds themselves, TikTok is extending ad credits to health organizations and SMBs.

The company is providing $25 million in prominent “in-feed” advertising space for NGOs, trusted health sources and local authorities, allowing them to share their important messages with millions of people, it said. Other major tech companies, including Google, Facebook and Twitter, have done the same on their own platforms.

TikTok noted it has worked to spread educational information in other ways, as well, having hosted live streams from representatives of WHO, IFRC and other popular voices in public health and science, including Bill Nye the Science Guy. There’s also a dedicated section in TikTok with other resources: the COVID-19 Resources Page on TikTok’s Safety Center. And it has partnered with creators on campaigns like #HappyAtHome, which airs live programming at 8:00 PM ET/ 5:00 PM PT on Fridays and has other themed experiences planned during weekdays.

TikTok will also offer $100 million in advertising credits to small and medium-sized businesses trying to get back on their feet in the months ahead. This effort hasn’t yet started, as it will depend on the decisions made by public health authorities about the re-opening of businesses, the company explained.

“We understand that these are challenging times for everyone,” wrote TikTok president, Alex Zhu, in an announcement. “Alongside businesses, governments, NGOs, and ordinary people across the globe stepping up in this critical moment, we are committed to offering the very best that we can to help out humanity. Together, we will persevere through this time of crisis and emerge a better community and part of a world that we fervently hope will be more united in common purpose than it was before,” Zhu added.

Read more: https://techcrunch.com/2020/04/09/tiktok-pledges-250m-in-covid-19-relief-efforts-plus-another-125m-in-ad-credits/

Lizzo, who is known for fighting negativity in regards to her appearance, posted a clip accusing TikTok of deleting her videos

Lizzo has accused the social media app TikTok of body shaming after it deleted multiple videos of her in a bathing suit.

TikTok keeps taking down my videos with me in my bathing suits, she wrote in the clip she posted on TikTok. But allows other videos with girls in bathing suits. I wonder why? TikTok … we need to talk. The clip has received over 8m views on TikTok.

A TikTok spokesperson told the Guardian that Lizzos videos were not removed because she was wearing a bathing suit. They cited other violations, including sexual gratification, that lead to a moderator initially banning the videos. The spokesperson specifically cited one video that featured Lizzo lifting up her dress to reveal her undergarments. There was initial confusion over what the garments were. After officials at TikTok spoke to Lizzos team, and the undergarments were confirmed to be Spanx, not underwear, the videos were reinstated exactly as they were originally uploaded. We love Lizzos creativity, the spokesperson said. And the videos were originally removed because of other violations, not a bathing suit.

The Juice singer has worked hard to combat negative comments and attitudes towards her physical appearance. Last year, Lizzo received a flurry of attacks for wearing an ass-less dress and thong to an NBA game. Never ever let somebody stop you or shame you from being yourself, she said in response to the attacks. This is who Ive always been. Now everyones looking at it, and your criticism can just remain your criticism. Your criticism has no effect on me.

Lizzo also shrugged off the controversial comments fitness expert Jillian Michaels made on the body-positivity movement surrounding the singer. (Why are we celebrating her body? Why does it matter? Why arent we celebrating her music? Cause it isnt gonna be awesome if she gets diabetes. Michaels said during a morning news segment.)

TikTok is not the first social media platform Lizzo has taken issue with. Last year, she quit Twitter due to severe bullying and online trolls.

TikTok has come under fire before for its censorship of users content. In November, Washington DC officials held hearings over the app censoring political content. And last year, officials at TikTok admitted to censoring offensive content in an effort to curb bullying towards users who are fat, disabled, LGBTQ+, and/or people of color.

Social media platforms have long faced accusations of unfairly censoring womens bodies, with many womens rights groups calling the decisions sexist. Instagram has come under fire for heavily deleting photos that feature womens nipples. The Free the Nipple movement rages on the app multiple artists and celebrities, including Rihanna, Kim Kardashian, and Chrissy Teigen have challenged the censorship rule with their own buzzed-about, scandalous photos. In 2015, Milk and Honey poet Rupi Kaur gained notoriety for challenging Instagrams ban on period blood by posting her own.

Read more: https://www.theguardian.com/music/2020/mar/05/lizzo-tiktok-body-shaming-censorship-social-media

Gen Z-ers are posting memes showing their reactions to the fallout from the virus, while the app is helping to educate users

As the world reckons with an indefinite period of social distancing, teenagers on TikTok are bringing people together with memes about coping during the coronavirus pandemic.

Videos using the hashtag #coronavirus are up to 5.5bn total views on the app, which lets users post short clips set to music, as of Thursday.

Many show emotional reactions to the Covid-19 fallout: one user documented the screams of students on campus as they responded to dorms being closed and school shutting down. One user posted a video of themselves crying and dealing with a potentially corona-related fever. Others are devastated to be packing up and leaving study abroad programs.

Many are simply upset that coronavirus is ruining all their plans. While some videos acknowledge the gravity of the situation, most posts are steeped in a dark humor that has come to characterize Gen Z.

This is a generation that grew up after 9/11, came of age during the 2008 financial crisis, and is faced with an unprecedented climate crisis that threatens to end the world as we know it. As one TikTok user put it: the desensitized teens who grew up with information overload are unfazed by the global economic and social impacts Covid-19 could have.

Memes aside, TikTok is taking proactive measures to educate people about the spread of the virus, at a time when many major social media platforms, including Facebook and Twitter, are pushing back against the spread of misinformation.

TikTok told the Guardian it was working with the World Health Organization (WHO) to provide trusted information to our community. Through this partnership it has provided a page with a Q&A about the virus, ways to protect yourself, and mythbusters featuring tips from the WHO telling users when to wear a mask, whether you should spray chlorine or alcohol all over your body to stop the spread of the virus (short answer: definitely not), and other daily protective measures.

Read more: https://www.theguardian.com/world/2020/mar/12/coronavirus-outbreak-tik-tok-memes

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/

Facebook is making its line of Portal-branded smart video calling devices more relevant to consumers, including those who don’t even have a Facebook account. The company today says its Portal family of products will now work with just a WhatsApp account, allowing users to make video calls to friends and family, as well as access Portal features like its interactive “Story Time.” In addition, the Portal devices are gaining new AR features, support for Facebook’s Workplace product for businesses and a number of new streaming services, including Amazon Prime Video, FandangoNOW, SlingTV and others.

The company’s original Facebook Portal devices were aimed at helping connect friends and family over video calling devices used in the home. This year, it expanded the line to include a video chat set-top box for TVs, called Portal TV, to give Facebook better traction in the living room.

But video calling alone has not proved to be enough of a selling point for Portal, whose sales are reportedly “very low,” according to supply chain sources. That’s led Facebook to tacking on new features and services that give consumers more of a reason to invite Facebook into their home.

That trend continues today with the notable addition of WhatsApp login.

This feature allows Portal owners to sign in to the device using only their WhatsApp account. They don’t even need a Facebook account at all. This opens up Portal to a potentially larger market, given WhatsApp’s 1.5 billion monthly users, not all of whom also have Facebook accounts.

In addition, Facebook Portal is looking to find traction in businesses by adding support for Facebook Workplace — its corporate version of Facebook that’s used by 3 million paying users, from mostly enterprise-sized businesses. The company announced its plans to launch a Workplace app on Portal earlier this fall, and now it has rolled out.

For fun, Facebook is adding a lip-sync AR app called Mic Drop to Portal TV, which includes songs from the Backstreet Boys, Coldplay, Katy Perry and others. Portal TV is also gaining Photo Booth, which lets you take selfies, photos and videos to share through Messenger.

Across the Portal line, the interactive AR Story Time app is being updated to include new renditions of classics like Little Red Riding Hood and Goldilocks and the Three Bears, plus new tales from Llama LlamaPete the Cat and Otto.

Portal users today will be able to live stream from their device directly to their Facebook Profile via Facebook Live — an obvious addition for a streaming video product like this, and one that could help Portal find customers among the influencer, gamer or vlogger crowd, perhaps.

Facebook’s co-watching feature, Watch Together, is also coming to Portal Mini, Portal and Portal+, so users can view Facebook Watch shows and programs together.

Portal is slowly edging its way into the streaming media player market, as well, with added support for a number of streaming services, including Amazon Prime Video. The company had announced Prime Video was on its way when it debuted new hardware this fall, but the service was not available at launch.

Now, Prime Video is supported in the U.S., U.K., Canada and France, along with the recently added FandangoNOW and Sling TV in the U.S. For music and podcasts, Deezer is also supported, plus Crave in Canada and France Télévisions in France.

The additions make Portal products more than just fancy video chat cameras, but they don’t solve Portal’s larger challenge: that people aren’t comfortable bringing Facebook products into their homes. The company has repeatedly broken trust with its customer base. And while its users may not be able to quit Facebook just yet, they aren’t rushing out to integrate it more deeply in their lives, either.

The addition of Prime Now and other streaming services also places Portal into a different category of devices, where it has to compete with more advanced media players like Apple TV, Amazon’s Fire TV and Fire TV Stick, Chromecast, Roku, Android TV and others. In this market, Portal’s small handful of supported streaming services just isn’t enough to make it a compelling competitor in this race.

But Facebook isn’t giving up on Portal, having launched a huge marketing blitz featuring promotions in ABC TV shows as well as TV commercials starring the likes of Kim Kardashian West, Jennifer Lopez and, lately, the Muppets. According to Kantar, Facebook spent nearly $62.7 million out of $97.3 million on TV advertising in the first half of the year, Variety reported.

Facebook says it’s planning to bring more content and experiences to Portal with future software updates.

Read more: https://techcrunch.com/2019/12/10/facebooks-video-calling-portal-devices-add-whatsapp-login-new-features-and-content/

This July, Facebook announced a new division called NPE Team which would build experimental consumer-facing apps, allowing the company to try out new ideas and features to see how people would react. It soon thereafter tapped former Vine GM Jason Toff to join the team as a product manager. The first apps to emerge from the NPE Team have now quietly launched. One, Bump, is a chat app that aims to help people make new friends through conversations, not appearances. Another, Aux, is a social music listening app.

Aux seems a bit reminiscent of an older startup, Turntable.fm, that closed its doors in 2013. As in Turntable.fm, the idea with Aux is that of a virtual DJ’ing experience where people instead of algorithms are programming the music. This concept of crowdsourced DJ’ing also caught on in years past with radio stations that put their audiences in control of the playlist through their mobile app.

Later, streaming music apps like Spotify experimented with party playlists, and various startups launched their own guest-controlled playlists.

The NPE Team’s Aux app is a slightly different take on this general idea of people-powered playlists.

The app is aimed at school-aged kids and teens who join a party in the app every day at 9 PM. They then choose the songs they want to play and compete for the “AUX” to get theirs played first. At the end of the night, a winner is chosen based on how many “claps” are received.

As the app describes it, Aux is a “DJ for Your School” — a title that’s a bit confusing, as it brings to mind music being played over the school’s intercom system, as opposed to a social app for kids who attend school to use in the evenings.

Aux launched on August 8, 2019 in Canada, and has less than 500 downloads on iOS, according to data from Sensor Tower. It’s not available on Android. It briefly ranked No. 38 among all Music apps on the Canadian App Store on October 22, which may point to some sort of short campaign to juice the downloads.

The other new NPE Team app is Bump, which aims to help people “make new friends.”

Essentially an anonymous chat app, the idea here is that Bump can help people connect by giving them icebreakers to respond to using text. There are no images, videos or links in Bump — just chats.

Based on the App Store screenshots, the app seems to be intended for college students. The screenshots show questions about “the coolest place” on campus and where to find cheap food. A sample chat shown in the screenshots mentions things like classes and roommate troubles. 

There could be a dating component to the app, as well, as it stresses that Bump helps people make a connection through “dialog versus appearances.” That levels the playing field a bit, compared with other social apps — and certainly dating apps — where the most attractive users with the best photos tend to receive the most attention.

Chats in Bump take place in real time, and you can only message in one chat at a time. There’s also a time limit of 30 seconds to respond to messages, which keeps the chat active. When the chat ends, the app will ask you if you want to keep in touch with the other person. Only if both people say yes will you be able to chat with them again.

Bump is available on both iOS and Android and is live in Canada and the Philippines. Bump once ranked as high as No. 252 in Social Networking on the Canadian App Store on September 1, 2019, according to Sensor Tower. However, it’s not ranking at all right now.

What’s interesting is that only one of these NPE Team apps, Bump, discloses in its App Store description that the NPE Team is from Facebook. The other, Aux, doesn’t mention this. However, both do point to an App privacy policy that’s hosted on Facebook.com for those who go digging.

That’s not too different from how Google’s in-house app incubator, Area 120, behaves. Some of its apps aren’t clear about their affiliation with Google, save for a link to Google’s privacy policy. It seems these companies want to see if the apps succeed or fail on their own merit, not because of their parent company’s brand name recognition.

Facebook hasn’t said much about its plans for the NPE Team beyond the fact that they will focus on new ways of building community and may be shut down quickly if they’re not useful.

Facebook previously confirmed the existence of these apps to The Information.

Read more: https://techcrunch.com/2019/11/08/facebooks-first-experimental-apps-from-its-npe-team-division-focus-on-students-chat-music/

Following the recent news about the Badoo and Bumble and Badoo exit there is more consolidation in the dating app space. It seems many dating apps are running for the exits ahead of the launch of dating on Facebook.

The Dating.com Group – an investment of SDVentures – has acquired Dil Mil, a San Francisco-based dating app for expats from India and other South Asian countries. The acquisition was via a combination of cash and Dating.com Group stock. According to Dating.com, the deal values the company at up to $50 million.

CEO and founder KJ Dhaliwal will continue to manage the company and will join Dating.com Group’s M&A and Strategy committees, as well as the Dating.com Group Advisory Board.

Dil Mil has effectively become the ‘Tinder for South Asians’, has over 1 million users in the US, UK, & Canada, and has spread its influence both via the app, as well as events, music, and art. It’s run campaigns with Bollywood superstars like Shilpa Shetty, “Love is” with leading South Asian influencers, and events like the Sessions Music Festival in New York City.

The portfolio of Dating.com Group already includes numerous brands including Dating.com, DateMyAge, LovingA, Tubit, AnastasiaDate, ChinaLove and others.

Dhaliwal said in a statement: “When we started Dil Mil, our vision was to empower the world to find love. I’m glad Dil Mil can continue to realize this vision with the support of Dating.com Group. As the dating app market becomes more competitive with companies like Facebook entering, we wanted to partner with a strong strategic player in this space.”

The idea for Dil Mil came to him after he realized his friends and family were having a hard time finding partners. He saw an opportunity to build a modern, reliable, safe platform specifically for South Asians to connect with each other. Existing methods like arranged marriages were outdated, while services offered by other apps were just not culturally appropriate.

Maria Sullivan (Vice President of Dating.com Group & Board Director at Dil Mil) commented: “Dating.com Group sees great potential in Indian and other South Asian markets. Dil Mil’s small yet talented team managed to build the leading company in its niche. The team will continue to manage the company while Dating.com Group will provide additional resources to help Dil Mil grow further. Dating.com Group plans to continue to acquire successful companies in the social discovery space.”

On average, Indians have the highest family income and postgraduate education ratio among foreign-born populations in America. The Indian diaspora is the largest in the world (30 million people). Continued growth is also expected since India is on pace to have the world’s largest population, surpassing China around 2027.

Read more: https://techcrunch.com/2019/11/25/dating-com-acquires-dil-mil-app-for-south-asian-expats-as-dating-apps-consolidate/

Facebook’s NPE Team, a division inside the social networking giant that will build experimental consumer-facing social apps, has now added a third app to its lineup with the launch of meme creation app Whale. Currently, the app allows users to decorate photos with text and stickers in order to create memes that can be shared to social media or texted to friends.

The app isn’t all that original, given the plethora of image-editing apps on the App Store today with similar feature sets. But it does have the advantage of being free to use without in-app purchases or subscriptions.

In Whale, users can take a photo, select a picture from their camera roll, or browse the app’s library of stock images in order to create a meme. Blank, 2-grid, 3-grid, and 4-grid canvas layouts are also available. To customize the images, users can add emojis, text, effects, and filters like laser eyes, vortex or bulge, for example.

In addition to making shareable memes, users can make their own image stickers using the crop and cut tools. And those with artistic capabilities can use the included freeform drawing tool, as well.

Like other NPE Team apps, Whale isn’t offered for download in the U.S. Instead, it’s only available in Canada for the time being — the home market for the first two NPE Team apps, Aux and Bump. The latter was also available in the Philippines, but neither have reached the U.S. Canada is likely being chosen as it’s a good proxy for the U.S., in terms of consumer demographics and user behavior, but has fewer users to contend with, in case an app takes off and has to quickly scale.

Facebook had announced its plans for the NPE Team back in July, explaining that its goal would be to rapidly experiment with new ideas, and shut down those projects that didn’t gain traction.

Its investment in creating new mobile social experiences comes at a time when Facebook’s suite of apps is facing serious competition from newer publishers, including most notably, Snapchat and TikTok. More broadly, the social networking app market is today filled with Snapchat platform apps, like Yolo or LMK, at the top of the charts, alongside newer video chat apps like Houseparty and Marco Polo.

App store intelligence firm Apptopia was first to spot Whale’s launch, which was reported by The Information. The app arrived on November 15, 2019, according to App Annie but it hasn’t yet ranked in any App Store category at this time.

Facebook says it’s not commenting on individual NPE Team apps, but had previously noted that the availability of the apps would depend on each app itself.

Read more: https://techcrunch.com/2019/11/19/facebooks-latest-experiment-is-a-meme-creation-app-whale/

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/