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Instagram will promote mid-term voting with stickers, registration info
Facebook is getting ready to purposefully influence the U.S. mid-term elections after spending two years trying to safeguard against foreign interference. Instagram plans to run ads in Stories and feed powered by TurboVote that will target all US users over 18 and point them towards information on how to get properly registered and abide by voting rules. Then when election day arrives, users will be able to add an “I Voted” sticker to their photos and videos that link to voting info like which polling place to go to.
Combined, these efforts could boost voter turnout, especially amongst Instagram’s core audience of millennials. If one political party’s base skews younger, they could receive an advantage. “Ahead of National Voter Registration Day, we are helping our community register to vote and get to the polls on November 6th” Instagram writes. “From today, Instagram will connect US voters with the information they need to get registered.”
In 2010, a non-partisan “Get out the vote” message atop the Facebook News Feed was estimated to have driven 340,000 additional votes. The study by Nature suggested that “more of the 0.6% growth in turnout between 2006 and 2010 might have been caused by a single message on Facebook”. That’s significant considering the 2000 election had a margin of just 0.1 percent of voters.
You can watch Instagram’s video ads for voting below, which feature a cartoony purple Grimace character and are clearly aimed at a younger audience. They purposefully avoid any Democratic or Republican imagery, but also stick to a polished and American style that could ensure the clips aren’t mistaken for Russian propaganda.
Earlier this year, the company admitted that 120,000 Instagram posts by the Russian military intelligence group the Internet Research Agency reached 20 million Americans in an attempt to sow discord surrounding the 2016 presidential election. They used a variety of image memes about polarizing social issues to try to divide the country. Facebook has since doubled its security staff to 20,000, required identity verification for political advertisers, and has stepped up its effort to delete scores of fake accounts associated with election interference.
The Russian disinformation attacks could still make users weary to learn about voting from social media. But more turnout means a more democratic society, so it’s easy to see the positive impact of Instagram efforts here. The question remains whether this voter drive will end up the subject of congressional scrutiny at another inevitable hearing on social media and political bias.
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Instagram Shopping gets personalized Explore channel, Stories tags
Instagram is embracing its true identity as a mail-order catalog. The question will be how much power merchants will give Instagram after seeing what its parent Facebook did to news outlets that relied on it. In a move that could pit it against Pinterest and Wish, Instagram is launching Shopping features across its app to let people discover and consider possible purchases before clicking through to check out on the merchant’s website.
Today, Instagram Explore is getting a personalized Shopping channel of items it thinks you’ll want most. And it’s expanding its Shopping tags for Instagram Stories to all viewers worldwide after a limited test in June, and it’s allowing brands in 46 countries to add the shopping bag icon to Stories that users can click through to buy what they saw.
Instagram clearly wants to graduate from where people get ideas for things to purchase to being a measurable gateway to their spending. 90 million people already tap its Shopping tags each month, it announced today. The new features could soak up more user attention and lead them to see more ads. But perhaps more importantly, demonstrating that Instagram can boost retail business’ sales for free through Stories and Explore could whet their appetite to buy Instagram ads to amplify their reach and juice the conversion channel. With 25 million businesses on Instagram but only 2 million advertisers, the app has room to massively increase its revenue.
For now Instagram is maintaining its “no comment” regarding whether it’s working on a standalone Instagram Shopping app as per a report from The Verge last month. Instagram first launched its Shopping tags for feeds in 2016. It still points users out to merchant sites for the final payment step, though, in part because retailers want to control their relationships with customers. But long-term, allowing businesses to opt in to offering in-Instagram checkout could shorten the funnel and get more users actually buying.
Shopping joins the For You, Art, Beauty, Sports, Fashion and other topic channels that launched in Explore in June. The Explore algorithm will show you shopping-tagged posts from businesses you follow and ones you might like based on who you follow and what shopping content engages you. This marks the first time you can view a dedicated shopping space inside of Instagram, and it could become a bottomless well of browsing for those in need of some retail therapy.
With Shopping Stickers, brands can choose to add one per story and customize the color to match their photo or video. A tap opens the product details page, and another sends them to the merchant’s site. Businesses will be able to see the number of taps on their Shopping sticker, and how many people tapped through to their website. Partnerships with Shopify (500,000+ merchants) and BigCommerce (60,000+ merchants) will make it easy for retailers of all sizes to use Instagram’s Shopping Stickers.
What about bringing Shopping to IGTV? A company spokesperson tells me, “IGTV and live video present interesting opportunities for brands to connect more closely with their customers, but we have no plans to bring shopping tools to those surfaces right now.”
For now, the new shopping features feel like a gift to merchants hoping to boost sales. But so did the surge of referral traffic Facebook sent to news publishers a few years ago. Those outlets soon grew dependent on Facebook, changed their news room staffing and content strategies to chase this traffic, and now find themselves in dire straights after Facebook cut off the traffic fire hose as it refocuses on friends and family content.
Retail merchants shouldn’t take the same bait. Instagram Shopping might be a nice bonus, but just how much it prioritizes the feature and spotlights the Explore channel are entirely under its control. Merchants should still work to develop an unmediated relationship directly with their customers, encouraging them to bookmark their sites or sign up for newsletters. Instagram’s favor could disappear with a change to its algorithm, and retailers must always be ready to stand on their own two feet.
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For IGTV, Instagram needs slow to mean steady
Instagram has never truly failed at anything, but judging by modest initial view counts, IGTV could get stuck with a reputation as an abandoned theater if the company isn’t careful. It’s no flop, but the long-form video hub certainly isn’t an instant hit like Instagram Stories. Two months after that launched in 2016, Instagram was happy to trumpet how its Snapchat clone had hit 100 million users. Yet two months after IGTV’s launch, the Facebook subsidiary has been silent on its traction.
“It’s a new format. It’s different. We have to wait for people to adopt it and that takes time,” Instagram CEO Kevin Systrom told me. “Think of it this way: we just invested in a startup called IGTV, but it’s small, and it’s like Instagram was ‘early days.’”
It’s indeed too early for a scientific analysis, and Instagram’s feed has been around since 2010, so it’s obviously not a fair comparison, but we took a look at the IGTV view counts of some of the feature’s launch partner creators. Across six of those creators, their recent feed videos are getting roughly 6.8X as many views as their IGTV posts. If IGTV’s launch partners that benefited from early access and guidance aren’t doing so hot, it means there’s likely no free view count bonanza in store from other creators or regular users.
They, and IGTV, will have to work for their audience. That’s already proving difficult for the standalone IGTV app. Though it peaked at the #25 overall US iPhone app and has seen 2.5 million downloads across iOS and Android according to Sensor Tower, it’s since dropped to #1497 and seen a 94 percent decrease in weekly installs to just 70,000 last week.
Instagram will have to be in it for the long haul if it wants to win at long-form video. Entering the market 13 years after YouTube with a vertical format no one’s quite sure what to do with, IGTV must play the tortoise. If it can avoid getting scrapped or buried, and offer the right incentives and flexibility to creators, IGTV could deliver the spontaneous video viewing experience Instagram lacks. Otherwise, IGTV risks becoming the next Google Plus — a ghost town inside an otherwise thriving product ecosystem.
A glitzy, glitchy start
Instagram gave IGTV a red carpet premiere June 20th in hopes of making it look like the new digital hotspot. The San Francisco launch event offered attendees several types of avocado toast, spa water and ‘Gram-worthy portrait backdrops reminiscent of the Color Factory or Museum of Ice Cream. Instagram hadn’t held a flashy press event since the 2013 launch of video sharing, so it pulled out all the stops. Balloon sculptures lined the entrance to a massive warehouse packed with social media stars and ad execs shouting to each other over the din of the DJ.
But things were rocky from the start. Leaks led TechCrunch to report on the IGTV name and details in the preceding weeks. Technical difficulties with Systrom’s presentation pushed back the start, but not the rollout of IGTV’s code. Tipster Jane Manchun Wong sent TechCrunch screenshots of the new app and features a half hour before it was announced, and Instagram’s own Business Blog jumped the gun by posting details of the launch. The web already knew how IGTV would let people upload vertical videos up to an hour long and browse them through categories like “Popular” and “For You” by the time Systrom took the stage.
IGTV’s launch event featured Instagram-themed donuts and elaborate portrait backdrops. Images via Vicki’s Donuts and Mai Lanpham
“What I’m most proud of is that Instagram took a stand and tried a brand new thing that is frankly hard to pull off. Full-screen vertical video that’s mobile only. That doesn’t exist anywhere else,” Systrom tells me. It was indeed ambitious. Creators were already comfortable making short-form vertical Snapchat Stories by the time Instagram launched its own version. IGTV would have to start from scratch.
Systrom sees the steep learning curve as a differentiator, though. “One of the things I like most about the new format is that it’s actually fairly difficult to just take videos that exist online and simply repost them. That’s not true in feed. That basically forces everyone to create new stuff,” Systrom tells me. “It’s not to say that there isn’t other stuff on there but in general it incentivizes people to produce new things from scratch. And that’s really what we’re looking for. Even if the volume of that stuff at the beginning is smaller than what you might see on the popular page [of Instagram Explore].”
Instagram CEO Kevin Systrom unveils IGTV at the glitzy June 20th launch event
Instagram forced creators to adopt this proprietary format. But it forget to train Stories stars how to entertain us for five or 15 minutes, not 15 seconds, or convince landscape YouTube moguls to purposefully shoot or crop their clips for the way we normally hold our phones.
IGTV’s Popular page features plenty of random viral pap, foreign language content, and poor cropping
That should have been the real purpose of the launch party — demonstrating a variety of ways to turn these format constraints or lack thereof into unique content. Vertical video frames people better than places, and the length allows sustained eye-to-lens contacts that can engender an emotional connection. But a shallow array of initial content and too much confidence that creators would figure it out on their own deprived IGTV of emergent norms that other videographers could emulate to wet their feet.
Now IGTV feels haphazard, with trashy viral videos and miscropped ports amongst its Popular section alongside a few creators trying to produce made-for-IGTV talk shows and cooking tutorials. It’s yet to have its breakout “Chewbacca Mom” or “Rubberbanded Watermelon” blockbuster like Facebook Live. Even an interview with mega celeb Kylie Jenner only had 11,000 views.
Instagram wants to put the focus on the author, not the individual works of art. “Because we don’t have full text search and you can’t just search any random thing, it’s about the creators” Systrom explains. “I think that at its base level that it’s personality driven and creator driven means that you’re going to get really unique content that you won’t find anywhere else and that’s the goal.”
Yet being unique requires extra effort that creators might not invest if they’re unsure of the payoff in either reach or revenue. Michael Sayman, formerly Facebook’s youngest employee who was hired at age 17 to build apps for teens and who now works for Google, summed it up saying: “Many times in my own career, I’ve tried to make something with a unique spin or a special twist because I felt that’s the only way I could make my product stand out from the crowd, only to realize that it was those very twists and spins that made my products feel out of place and confusing to users. Sometimes, the best product is one that doesn’t create any new twists, but rather perfects and builds on top of what has been proven to already be extremely successful.”
A fraction of feed views
The one big surprise of the launch event was where IGTV would exist. Instagram announced it’d live in a standalone IGTV app, but also as a feature in the main app accessible from an orange button atop the home screen that would occasionally call out that new content was inside. It could have had its own carousel like Stories or been integrated into Explore until it was ready for primetime.
Instead, it was ignorable. IGTV didn’t get the benefit of the home screen spotlight like Instagram Stories. Blow past that one orange button and avoid downloading the separate app, and users could go right on tapping and scrolling through Instagram without coming across IGTV’s longer videos.
View counts of the launch partners reflect that. We looked at six launch partner creators, comparing their last six feed and IGTV videos older than a week and less than six months old, or fewer videos if that’s all they’d posted.
Only one of the six, BabyAriel, saw an obvious growth trend in her IGTV videos. Her candid IGTV monologues are performing the best of the six compared to feed. She’s earning an average of 243,000 views per IGTV video, about a third as many as she gets on her feed videos. “I’m really happy with my view counts because IGTV is just starting” BabyAriel tells me. She thinks the format will be good for behind-the-scenes clips that complement her longer YouTube videos and shorter Stories. “When I record anything, It’s vertical. When I turn my phone horizontal I think of an hour-long movie.”
Lele Pons, a Latin American comedy and music star who’s one of the most popular Instagram celebrities, gets about 5.7X more feed views than on her IGTV cooking show that averages 1.9 million hits. Instagram posted some IGTV highlights from the first month, but the most popular of now has 4.3 million views — less than half of what Pons gets on her average feed video.
Fitness guides from Katie Austin averaged just 3,600 views on IGTV while she gets 7.5X more in the feed. Lauren Godwin’s colorful comedy fared 5.2X better in the feed. Bryce Xavier saw the biggest differential, earning 15.9X more views for his dance and culture videos. And in the most direct comparison, K-Pop dancer Susie Shu sometimes posts cuts from the same performance to the two destinations, like one that got 273,000 views in feed but just 27,000 on IGTV, with similar clips fairing an average of 7.8X better.
Again, this isn’t to say IGTV is a lame horse. It just isn’t roaring out of the gates. Systrom remains optimistic about inventing a new format. “The question is can we pull that off and the early signs are really good,” he tells me. “We’ve been pretty blown away by the reception and the usage upfront,” though he declined to share any specific statistics. Instagram promised to provide more insight into traction in the future.
YouTube star Casey Neistat is less bullish. He doesn’t think IGTV is working and that engagement has been weak. If IGTV views were surpassing those of YouTube, creators would flock to it, but so far view counts are uninspiring and not worth diverting creative attention, Neistat says. “YouTube offers the best sit-back consumption, and Stories offers active consumption. Where does IGTV fit in? I’m not sure” he tells me. “Why create all of this unique content if it gets lower views, it’s not monetizable, and the viewers aren’t there?”
Susie Shu averages 7.8X more video views in the Instagram feed than on IGTV
For now, the combination of an unfamiliar format, the absence of direction for how to use it and the relatively buried placement has likely tempered IGTV’s traction. Two months in, Instagram Stories was proving itself an existential threat to Snapchat — which it’s in fact become. IGTV doesn’t pose the same danger to YouTube yet, and it will need a strategy to support a more slow-burn trajectory.
The chicken and the IG problem
The first step to becoming a real YouTube challenger is to build up some tent-pole content that gives people a reason to open IGTV. Until there’s something that captures attention, any cross-promotion traffic Instagram sends it will be like pouring water into a bucket with a giant hole in the bottom. Yet until there’s enough viewers, it’s tough to persuade creators to shoot for IGTV since it won’t do a ton to boost their fan base.
Fortnite champion Ninja shares a photo of IGTV launch partners gathered backstage at the press event
Meanwhile, Instagram hasn’t committed to a monetization or revenue-sharing strategy for IGTV. Systrom said at the launch that “There’s no ads in IGTV today,” but noted it’s “obviously a very reasonable place [for ads] to end up.” Without enough views, though, ads won’t earn enough for a revenue split to incentivize creators. Perhaps Instagram will heavily integrate its in-app shopping features and sponsored content partnerships, but even those rely on having more traffic. Vine withered at Twitter in part from creators bailing due to its omission of native monetization options.
So how does IGTV solve the chicken-and-egg problem? It may need to swallow its pride and pay early adopters directly for content until it racks up enough views to offer sustainable revenue sharing. Instagram has never publicly copped to paying for content before, unlike its parent Facebook, which offered stipends ranging into the millions of dollars for publishers to shoot Live broadcasts and long-form Watch shows. Neither have led to a booming viewership, but perhaps that’s because Facebook has lost its edge with the teens who love video.
Instagram could do better if it paid the right creators to weather IGTV’s initial slim pickings. Settling on ad strategy creators can count on earning money from in the future might also get them to hang tight. Those deals could mimic the 55 percent split of mid-roll ad breaks Facebook gives creators on some videos. But again, the views must come first.
Alternatively, or additionally, it could double down on the launch strategy of luring creators with the potential to become the big fish in IGTV’s small-for-now pond. Backroom deals to trade being highlighted in its IGTV algorithm in exchange for high-quality content could win the hearts of these stars and their managers. Instagram would be wise to pair these incentives with vertical long-form video content creation workshops. It could bring its community, product and analytics leaders together with partnered stars to suss out what works best in the format and help them shoot it.
The cross-promo spigot
Once there’s something worth watching on IGTV, the company could open the cross-promo traffic spigot. At first, Instagram would send notifications about top content or IGTV posts from people you follow, and call them out with a little orange text banner atop its main app. Now it seems to understand it will need to be more coercive.
Last month, TechCrunch tipster Jane Manchun Wong spotted Instagram showing promos for individual IGTV shows in the middle of the feed, hoping to redirect eyeballs there. And today, TechCrunch researcher Matt Navarra found Instagram getting more aggressive by putting a bigger call out featuring a relevant IGTV clip with preview image above your Stories tray on the home screen. It may need to boost the frequency of these cross-promotions and stick them in-between Stories and Explore sections as well to give IGTV the limelight. These could expose users to creators they don’t follow already but might enjoy.
“It’s still early but I do think there’s a lot of potential when they figure out two things since the feature is so new,” says John Shahidi, who runs the Justin Bieber-backed Shots Studios, which produces and distributes content for Lele Pons, Rudy Mancuso and other Insta celebs. “1. Product. IGTV is not in your face so Instagram users aren’t changing behavior to consume. Timeline and Instagram Stories are in your face so those two are the most used features. 2. Discoverability. I want to see videos from people I don’t follow. Interesting stuff like cooking, product review, interesting content from brands but without following the accounts.” In the meantime, Shots Studios is launching a vertical-only channel on YouTube that Shahidi believes is the first of its kind.
Instagram will have to balance its strategic imperative to grow the long-form video hub and avoid spamming users until they hate the brand as a whole. Some think it’s already gone too far. “I think it’s super intrusive right now,” says Tiffany Zhong, once known as the world’s youngest venture capitalist who now runs Generation Z consulting firm Zebra Intelligence. “I personally find all the IGTV videos super boring and click out within seconds (and the only time I watch them are if I accidentally tapped on the icon when I tried to go to my DMs instead).” Desperately funneling traffic to the feature before there’s enough great content to power relevant recommendations for everyone could prematurely sour users on IGTV.
Systrom remains optimistic he can iterate his way to success. “What I want to see over the next six to 12 months is a consistent drumbeat of new features that both consumers and creators are asking for, and to look at the retention curve and say ‘are people continuing to watch? Are people continuing to upload?,’” says Systrom. “So far we are seeing that all of those are healthy. But again trying to judge a very new kind of audacious format that’s never really been done before in the first months is going to be really hard.”
Differentiator or deterrent?
The biggest question remains whether IGTV will remain devout to the orthodoxy of vertical-only. Loosening up to accept landscape videos too might nullify a differentiator, but also pipe in a flood of content it could then algorithmically curate to bootstrap IGTV’s library. Reducing the friction by allowing people to easily port content to or from elsewhere might make it feel like less of a gamble for creators deciding where to put their production resources. Instagram itself expanded from square-only to portrait and landscape photos in the feed in 2015.
“My advice would be to make the videos horizontal. We’ve all come to understand vertical as ‘short form’ and horizontal as ‘long form,’” says Sayman. “It’s in the act of rotating your phone to landscape that you indicate to yourself and to your mobile device that you will not be context switching for the next few minutes, but rather intend to focus on one piece of content for an extended period of time.” This would at least give users more to watch, even if they ended up viewing landscape videos with their phones in portrait orientation.
This might be best as a last-ditch effort if it can’t get enough content flowing in through other means. But at least Instagram should offer a cropping tool that lets users manually select what vertical slice of a landscape video they want to show as they watch, rather than just grabbing the center or picking one area on the side for the whole clip. This could let creators repurpose landscape videos without things getting awkwardly half cut out of frame.
Former Facebook employee and social investor Josh Elman, who now works at Robinhood, told me he’s confident the company will experiment as much as necessary. “I think Facebook is relentless. They know that a ton of consumers watch video online. And most discover videos through influencers or their friends. (Or Netflix). Even though Watch and IGTV haven’t taken the world by storm yet, I bet Facebook won’t stop until they find the right mix.”
There’s a goldmine waiting if it does. Unlike on Facebook, there’s no Regram feature, you can’t post links, and outside of Explore you just see who you already follow on Instagram. That’s made it great at delivering friendly video and clips from your favorite stars, but leaves a gaping hole where serendipitous viewing could be. IGTV fills that gap. The hours people spend on Facebook watching random videos and their accompanying commercials have lifted the company to over $13 billion in revenue per quarter. Giving a younger audience a bottomless pit of full-screen video could produce the same behavior and profits on Instagram without polluting the feed, which can remain the purest manifestation of visual feed culture. But that’s only if IGTV can get enough content uploaded.
Puffed up by the success of besting its foe Snapchat, Instagram assumed it could take the long-form video world by storm. But the grand entrance at its debutante ball didn’t draw enough attention. Now it needs to take a different tack. Tone down the cross-promo for the moment. Concentrate on teaching creators how to find what works on the format and incentivizing them with cash and traffic. Develop some must-see IGTV and stoke a viral blockbuster. Prove the gravity of extended, personality-driven vertical video. Only then should it redirect traffic there from the feed, Stories, and Explore.
YouTube’s library wasn’t built overnight, and neither will IGTV’s. Facebook’s deep pockets and the success of Instagram’s other features give it the runway necessary to let IGTV take off. With 1 billion monthly users, and 400 million daily Stories users gathered in just two years, there are plenty of eyeballs waiting to be seduced. Systrom concludes, “Everything that is great starts small.” IGTV’s destiny will depend on Instagram’s patience.
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The top 10 startups from Y Combinator’s Demo Day S18 Day 2
Fifty-nine startups took the stage at Y Combinator’s Demo Day 2, and among the highlights were a company that helps developers manage in-app subscriptions; a service that lets you create animojis from real photos; and a surplus medical equipment-reselling platform. Oh… and there was also a company that’s developed an entirely new kind of life form using e coli bacteria. So yeah, that’s happening.
Based on some investor buzz and what caught TechCrunch’s eye, these are our top picks from the second day of Y Combinator’s presentations.
You can find the full list of companies that presented on Day 1 here, and our top picks from Day 1 here.
64-x
With a founding team including some of the leading luminaries in the field of biologically inspired engineering (including George Church, Pamela Silver and Jeffrey Way from Harvard’s Wyss Institute), 64-x is engineering organisms to function in otherwise inaccessible environments. Chief executive Alexis Rovner, herself a post-doctoral fellow at the Wyss Institute, and chief operating officer Ryan Gallagher, a former BCG Consultant, are looking to commercialize research from the Institute around accelerating and expanding the ability to produce functionalized proteins and sequence-defined polymers with diverse chemistries. Basically they’ve engineered a new life form that they want to use for novel kinds of bio-manufacturing.
Why we liked it: These geniuses invented a new life form.
CB Therapeutics
Sher Butt, a former lab directory at Steep Hill, saw that cannabinoids were as close to a miracle cure for pain, epilepsy and other chronic conditions as medicine was going to get. But plant-based cannabinoids were costly and produced inconsistent results. Alongside Jacob Vogan, Butt realized that biosynthesizing cannabinoids would reduce production costs by a factor of 10 and boost production 24 times current yields. With a deep experience commercializing drugs for Novartis and as the founder of the cannabis testing company SB Labs, Butt and his technical co-founder are uniquely positioned to bring this new therapy to market.
Why we liked it: Using manufacturing processes to make industrial quantities of what looks like nature’s best painkiller at scale is not a bad idea.
RevenueCat
RevenueCat helps developers manage their in-app subscriptions. It offers an API that developers can use to support in-app subscriptions on iOS and Android, which means they don’t have to worry about all the nuances, bugs and updates on each platform.
The API also allows developers to bring all the data about their subscription business together in one place. It might be on to something, though it isn’t clear how big that something is quite yet. The nine-month-old company says it’s currently seeing $350,000 in transaction volume every month; it’s making some undisclosed percentage of money off that amount.
Read more about RevenueCat here.
Why we liked it: Write code. Release app. Use RevenueCat. Get paid. That sounds like a good formula for a pretty compelling business.
Ajaib
Indonesia is a country in transition, with a growing class of individuals with assets to invest yet who, financially, don’t meet the bar set by many wealth managers. Enter Ajaib, a newly minted startup with the very bold ambition of becoming the “Ant Financial of wealth management for Indonesia.” Why the comparison? Because China was in the same boat not long ago — a country whose middle class had little access to wealth management advice. With the founding of Ant Financial nearly four years ago, that changed. In fact, Ant now boasts more than 400 million users.
China is home to nearly 1.4 billion, compared with Indonesia, whose population of 261 million is tiny in comparison. Still, if its plans work out to charge 1.4 percent for every dollar managed, with an estimated $370 billion in savings in the country to chase after, it could be facing a meaningful opportunity in its backyard if it gains some momentum.
Why we liked it: If Ajaib’s wealth management plans (to charge 1.4 percent for every dollar it manages) work out — and with a total market of $370 billion in savings in Indonesia — the company could be facing a meaningful opportunity in its backyard.
Grin
The scooter craze is hitting Latin America and Grin is greasing the wheels. The Mexico City-based company was launched by co-founder Sergio Romo after he and his partner realized they weren’t going to be able to get a cut of the big “birds” on the scooter block in the U.S. (as Axios reported). Romo and his co-founder have already lined up a slew of investors for what may be the hottest new deal in Latin America. Backers include Sinai Ventures, Liquid2 Ventures, 500 Startups, Monashees and Base10 Partners.
Why we liked it: Scooters are so 2018. But there’s a lot of money to be made in mobility, and as the challenge from Bird and Lime to Uber and Lyft in hyperlocal transit has revealed, there’s no dominant player that’s taken over the market… yet.
Emojer
Creating animated emojis made from real photos, Emojer just might be the most fun you can have with a camera. The company’s software uses deep learning algorithms to detect body parts and guides users in creating their own avatars with just a simple photo take from a mobile phone. It’s replacing deep Photoshop expertise and animation skills with a super simple interface. The avatars look very similar to Elf Yourself, a popular site that let you paste your friends’ faces on dancing Christmas elves goes viral every year at Christmastime. Founders have PhDs in machine learning and computer vision.
Why we liked it: As the company’s chief executive said, Snap was for sexting, and Facebook was hot or not, so who says the next big consumer platform couldn’t be the Trojan horse of easily generated selfiemojis (akin to Elf Yourself)?
Osh’s Affordable Pharmaceuticals
Osh’s Affordable Pharmaceuticals is a public benefit corporation connecting doctors and patients with sources of low-cost, compounded pharmaceuticals. The company is looking to decrease barriers to entry for drugs for rare diseases. Three weeks ago the company introduced a drug to treat Wilson’s Disease. There was no access to the drug that treats the disease before in Brazil, India or Canada. It slashes the cost of drugs from $30,000 a month to $120 per month. The company estimates it has a total addressable market of $17 billion. “Generic drug pricing is a crisis, people are dying because they can’t get access to the medicine they need,” says chief executive Alex Oshmyansky. Osh’s might have a solution.
Why we liked it: Selling lower-cost medications for rare diseases in countries that previously hadn’t had access to them is a good business that’s good for the world.
Medinas Health
Tackling a $75 billion problem of healthcare waste, Medinas Health is giving hospitals an easy way to resell their used supplies. The company has already raised $1 million for its marketplace to help healthcare organizations buy and sell equipment. With a seed round led by Ashton Kutcher and Guy Oseary’s Sound Ventures, and General Catalyst’s Rough Draft Ventures fund, the company is also working to lower costs for cash-strapped rural healthcare centers.
Why we liked it: Finding uses for hospital equipment that’s been lying fallow in corners is a big business. A $75 billion business if Medinas’ estimates are correct. Add helping cut costs for rural medical facilities and Medinas is a business we can get behind.
And Comfort
Plus-size women have limited clothing options even at the largest retailers like Nordstrom and Macy’s. While a majority of American women fall into the plus-size clothing category, 100 million women are constrained to shopping for a very small percentage of options. And Comfort wants to solve the supply problem. To do this, the founders, two former Harvard classmates, are building a direct-to-consumer fashion brand with stylish, minimalist offerings for plus-size women, including tunic shirts and an apron dress. It’s very early days for the brand, but since launching in recent weeks, they’ve seen $25,000 in sales.
Why we liked it: This direct-to-consumer fashion brand is bringing higher quality, better-designed clothing options to a market that’s underserved and growing quickly. What’s not to like?
ShopWith
Influencers of the world are uniting on mobile app, ShopWith, which allows shoppers to browse virtual storefronts and aisles alongside their favorite fashion and beauty creators and YouTubers. Users can see exactly what products those influencers have featured and can buy them without ever leaving the app. It’s a free download and hours of commercially consumptive fun.
It’s like the QVC model, but for GenZ shoppers whose buying habits are influenced by social video content on YouTube, Instagram and Snapchat. The company revealed that one beauty influencer made $10,000 within five hours using the ShopWith platform. The founders are former product managers with experience building social commerce products at Facebook and Amazon.
Why we liked it: The QVC for GenZ not only has a nice ring to it, it’s a recipe for making cash registers hum. A mobile-first, influencer-based shopping company is something that we’d definitely not call an impulse purchase.
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Say ‘Aloha’: A closer look at Facebook’s voice ambitions
Facebook has been a bit slow to adopt the voice computing revolution. It has no voice assistant, its smart speaker is still in development, and some apps like Instagram aren’t fully equipped for audio communication. But much of that is set to change judging by experiments discovered in Facebook’s code, plus new patent filings.
Developing voice functionality could give people more ways to use Facebook in their home or on the go. Its forthcoming Portal smart speaker is reportedly designed for easy video chatting with distant family, including seniors and kids that might have trouble with phones. Improved transcription and speech-to-text-to-speech features could connect Messenger users across input mediums and keep them on the chat app rather than straying back to SMS.
But Facebook’s voice could be drowned out by the din of the crowd if it doesn’t get moving soon. All the major mobile hardware and operating system makers now have their own voice assistants like Siri, Alexa, Google Assistant and Samsung Bixby, as well as their own smart speakers. In Q2 2018, Canalys estimates that Google shipped 5.4 million Homes, and Amazon shipped 4.1 million Echoes. Apple’s HomePod is off to a slow start with less than 6 percent of the market, behind Alibaba’s smart speaker, according to Strategy Analytics. Facebook’s spotty record around privacy might deflect potential customers to its competitors.
Given Facebook is late to the game, it will need to arrive with powerful utility that solves real problems. Here’s a look at Facebook’s newest developments in the voice space, and how its past experiments lay the groundwork for its next big push.
Aloha voice
Facebook is developing its own speech recognition feature under the name Aloha for both the Facebook and Messenger apps, as well as external hardware — likely the video chat smart speaker it’s developing. Code inside the Facebook and Messenger Android apps dug up by frequent TechCrunch tipster and mobile researcher Jane Manchun Wong gives the first look at a prototype for the Aloha user interface.
Labeled “Aloha Voice Testing,” as a user speaks while in a message thread, a horizontal blue bar expands and contracts to visualize the volume of speech while recognizing and transcribing into text. The code describes the feature as having connections with external Wi-Fi or Bluetooth devices. It’s possible that the software will run on both Facebook’s hardware and software, similar to Google Assistant that runs both on phones and Google Home speakers. [Update: As seen below, the Aloha feature contains a “Your mobile device is now connected Portal” screen, confirming that name for the Facebook video chat smart speaker device.]
Facebook declined to comment on the video, with its spokesperson Ha Thai telling me, “We test stuff all the time — nothing to share today but my team will be in touch in a few weeks about hardware news coming from the AR/VR org.” It unclear if that hardware news will focus on voice and Aloha or Portal, or if it’s merely related to Facebook’s Oculus Connect 5 conference on September 25th.
A source previously told me that years ago, Facebook was interested in developing its own speech recognition software designed specifically to accurately transcribe how friends talk to each other. These speech patterns are often more casual, colloquial, rapid and full of slang than the way we formally address computerized assistants like Amazon Alexa or Google Home.
Wong also found the Aloha logo buried in Facebook’s code, which features volcano imagery. I can confirm that I’ve seen a Facebook Aloha Setup chatbot with a similar logo on the phones of Facebook employees.
If Facebook can figure this out, it could offer its own transcription features in Messenger and elsewhere on the site so users could communicate across mediums. It could potentially let you dictate comments or messages to friends while you have your hands full or can’t look at your screen. The recipient could then read the text instead of having to listen to it like a voice message. The feature also could be used to power voice navigation of Facebook’s apps for better hands-free usage.
Speaker and camera patents
Facebook awarded patent for speaker
Facebook’s video chat smart speaker was reportedly codenamed Aloha originally but later renamed Portal, Alex Heath of Business Insider and now Cheddar first reported in August 2017. The $499 competitor to the Amazon Echo Show was initially set to launch at Facebook’s F8 in May, but Bloomberg reported it was pushed back amid concerns that it would exacerbate the privacy scandal ignited by Cambridge Analytica.
A new patent filing reveals Facebook was considering building a smart speaker as early as December 26th, 2016 when it filed a patent for a cube-shaped device. The patent diagrams an “ornamental design for a speaker device” invented by Baback Elmieh, Alexandre Jais and John Proksch-Whaley. Facebook had acquired Elmieh’s startup Nascent Objects in September of that year and he’s now a technical project lead at Facebook’s secretive Building 8 hardware lab.
The startup had been building modular hardware, and earlier this year he was awarded patents for work at Facebook on several modular cameras. The speaker and camera technology Facebook has been developing could potentially evolve into what’s in its video chat speaker.
The fact that Facebook has been exploring speaker technology for so long and that the lead on these patents is still running a secret project in Building 8 strengthens the case that Facebook has big plans for the voice space.
Patents awarded to Facebook show designs for a camera (left) and video camera (right)
Instagram voice messaging
And finally, Instagram is getting deeper into the voice game, too. A screenshot generated from the code of Instagram’s Android app by Wong reveals the development of a voice clip messaging feature heading to Instagram Direct. This would allow you to speak into Instagram and send the audio clips similar to a walkie-talkie, or the voice messaging feature Facebook Messenger added back in 2013.
You can see the voice button in the message composer at the bottom of the screen, and the code explains that to “Voice message, press and hold to record.” The prototype follows the recent launch of video chat in Instagram Direct, another feature on which TechCrunch broke the news thanks to Wong’s research. An Instagram spokesperson declined to comment, as is typical when features are spotted in its code but aren’t publicly testing yet, saying, “Unfortunately nothing more to share on this right now.”
The long road to Voicebook
Facebook has long tinkered in the voice space. In 2015, it acquired natural language processing startup Wit.ai that ran a developer platform for building speech interfaces, though it later rolled Wit.ai into Messenger’s platform team to focus on chatbots. Facebook also began testing automatically transcribing Messenger voice clips into text in 2015 in what was likely the groundwork for the Aloha feature seen above. The company also revealed its M personal assistant that could accomplish tasks for users, but it was only rolled out to a very limited user base and later turned off.
The next year, Facebook’s head of Messenger David Marcus claimed at TechCrunch Disrupt that voice “is not something we’re actively working on right now,” but added that “at some point it’s pretty obvious that as we develop more and more capabilities and interactions inside of Messenger, we’ll start working on voice exchanges and interfaces.” However, a source had told me Facebook’s secretive Language Technology Group was already exploring voice opportunities. Facebook also began testing its Live Audio feature for users who want to just broadcast sound and not video.
By 2017, Facebook was offering automatic captioning for Pages’ videos, and was developing a voice search feature. And this year, Facebook began trying voice clips as status updates and Stories for users around the world who might have trouble typing in their native tongue. But executives haven’t spoken much about the voice initiatives.
The most detailed comments we have come from Facebook’s head of design Luke Woods at TechCrunch Disrupt 2017 where he described voice search saying it was, “very promising. There are lots of exciting things happening…. I love to be able to talk to the car to navigate to a particular place. That’s one of many potential use cases.” It’s also one that voice transcription could aid.
It’s still unclear exactly what Facebook’s Aloha will become. It could be a de facto operating system or voice interface and transcription feature for Facebook’s smart speaker and apps. It could become a more full-fledged voice assistant like M, but with audio. Or perhaps it could become Facebook’s bridge to other voice ecosystems, serving as Facebook’s Alexa Skill or Google Assistant Action.
When I asked Woods “How would Facebook on Alexa work?,” he said with a smile “That’s a very interesting question! No comment.”
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Openbook is the latest dream of a digital life beyond Facebook
As tech’s social giants wrestle with antisocial demons that appear to be both an emergent property of their platform power, and a consequence of specific leadership and values failures (evident as they publicly fail to enforce even the standards they claim to have), there are still people dreaming of a better way. Of social networking beyond outrage-fuelled adtech giants like Facebook and Twitter.
There have been many such attempts to build a ‘better’ social network of course. Most have ended in the deadpool. A few are still around with varying degrees of success/usage (Snapchat, Ello and Mastodon are three that spring to mine). None has usurped Zuckerberg’s throne of course.
This is principally because Facebook acquired Instagram and WhatsApp. It has also bought and closed down smaller potential future rivals (tbh). So by hogging network power, and the resources that flow from that, Facebook the company continues to dominate the social space. But that doesn’t stop people imagining something better — a platform that could win friends and influence the mainstream by being better ethically and in terms of functionality.
And so meet the latest dreamer with a double-sided social mission: Openbook.
The idea (currently it’s just that; a small self-funded team; a manifesto; a prototype; a nearly spent Kickstarter campaign; and, well, a lot of hopeful ambition) is to build an open source platform that rethinks social networking to make it friendly and customizable, rather than sticky and creepy.
Their vision to protect privacy as a for-profit platform involves a business model that’s based on honest fees — and an on-platform digital currency — rather than ever watchful ads and trackers.
There’s nothing exactly new in any of their core ideas. But in the face of massive and flagrant data misuse by platform giants these are ideas that seem to sound increasingly like sense. So the element of timing is perhaps the most notable thing here — with Facebook facing greater scrutiny than ever before, and even taking some hits to user growth and to its perceived valuation as a result of ongoing failures of leadership and a management philosophy that’s been attacked by at least one of its outgoing senior execs as manipulative and ethically out of touch.
The Openbook vision of a better way belongs to Joel Hernández who has been dreaming for a couple of years, brainstorming ideas on the side of other projects, and gathering similarly minded people around him to collectively come up with an alternative social network manifesto — whose primary pledge is a commitment to be honest.
“And then the data scandals started happening and every time they would, they would give me hope. Hope that existing social networks were not a given and immutable thing, that they could be changed, improved, replaced,” he tells TechCrunch.
Rather ironically Hernández says it was overhearing the lunchtime conversation of a group of people sitting near him — complaining about a laundry list of social networking ills; “creepy ads, being spammed with messages and notifications all the time, constantly seeing the same kind of content in their newsfeed” — that gave him the final push to pick up the paper manifesto and have a go at actually building (or, well, trying to fund building… ) an alternative platform.
At the time of writing Openbook’s Kickstarter crowdfunding campaign has a handful of days to go and is only around a third of the way to reaching its (modest) target of $115k, with just over 1,000 backers chipping in. So the funding challenge is looking tough.
The team behind Openbook includes crypto(graphy) royalty, Phil Zimmermann — aka the father of PGP — who is on board as an advisor initially but billed as its “chief cryptographer”, as that’s what he’d be building for the platform if/when the time came.
Hernández worked with Zimmermann at the Dutch telecom KPN building security and privacy tools for internal usage — so called him up and invited him for a coffee to get his thoughts on the idea.
“As soon as I opened the website with the name Openbook, his face lit up like I had never seen before,” says Hernández. “You see, he wanted to use Facebook. He lives far away from his family and facebook was the way to stay in the loop with his family. But using it would also mean giving away his privacy and therefore accepting defeat on his life-long fight for it, so he never did. He was thrilled at the possibility of an actual alternative.”
On the Kickstarter page there’s a video of Zimmermann explaining the ills of the current landscape of for-profit social platforms, as he views it. “If you go back a century, Coca Cola had cocaine in it and we were giving it to children,” he says here. “It’s crazy what we were doing a century ago. I think there will come a time, some years in the future, when we’re going to look back on social networks today, and what we were doing to ourselves, the harm we were doing to ourselves with social networks.”
“We need an alternative to the social network work revenue model that we have today,” he adds. “The problem with having these deep machine learning neural nets that are monitoring our behaviour and pulling us into deeper and deeper engagement is they already seem to know that nothing drives engagement as much as outrage.
“And this outrage deepens the political divides in our culture, it creates attack vectors against democratic institutions, it undermines our elections, it makes people angry at each other and provides opportunities to divide us. And that’s in addition to the destruction of our privacy by revenue models that are all about exploiting our personal information. So we need some alternative to this.”
Hernández actually pinged TechCrunch’s tips line back in April — soon after the Cambridge Analytica Facebook scandal went global — saying “we’re building the first ever privacy and security first, open-source, social network”.
We’ve heard plenty of similar pitches before, of course. Yet Facebook has continued to harvest global eyeballs by the billions. And even now, after a string of massive data and ethics scandals, it’s all but impossible to imagine users leaving the site en masse. Such is the powerful lock-in of The Social Network effect.
Regulation could present a greater threat to Facebook, though others argue more rules will simply cement its current dominance.
Openbook’s challenger idea is to apply product innovation to try to unstick Zuckerberg. Aka “building functionality that could stand for itself”, as Hernández puts it.
“We openly recognise that privacy will never be enough to get any significant user share from existing social networks,” he says. “That’s why we want to create a more customisable, fun and overall social experience. We won’t follow the footsteps of existing social networks.”
Data portability is an important ingredient to even being able to dream this dream — getting people to switch from a dominant network is hard enough without having to ask them to leave all their stuff behind as well as their friends. Which means that “making the transition process as smooth as possible” is another project focus.
Hernández says they’re building data importers that can parse the archive users are able to request from their existing social networks — to “tell you what’s in there and allow you to select what you want to import into Openbook”.
These sorts of efforts are aided by updated regulations in Europe — which bolster portability requirements on controllers of personal data. “I wouldn’t say it made the project possible but… it provided us a with a unique opportunity no other initiative had before,” says Hernández of the EU’s GDPR.
“Whether it will play a significant role in the mass adoption of the network, we can’t tell for sure but it’s simply an opportunity too good to ignore.”
On the product front, he says they have lots of ideas — reeling off a list that includes the likes of “a topic-roulette for chats, embracing Internet challenges as another kind of content, widgets, profile avatars, AR chatrooms…” for starters.
“Some of these might sound silly but the idea is to break the status quo when it comes to the definition of what a social network can do,” he adds.
Asked why he believes other efforts to build ‘ethical’ alternatives to Facebook have failed he argues it’s usually because they’ve focused on technology rather than product.
“This is still the most predominant [reason for failure],” he suggests. “A project comes up offering a radical new way to do social networking behind the scenes. They focus all their efforts in building the brand new tech needed to do the very basic things a social network can already do. Next thing you know, years have passed. They’re still thousands of miles away from anything similar to the functionality of existing social networks and their core supporters have moved into yet another initiative making the same promises. And the cycle goes on.”
He also reckons disruptive efforts have fizzled out because they were too tightly focused on being just a solution to an existing platform problem and nothing more.
So, in other words, people were trying to build an ‘anti-Facebook’, rather than a distinctly interesting service in its own right. (The latter innovation, you could argue, is how Snap managed to carve out a space for itself in spite of Facebook sitting alongside it — even as Facebook has since sought to crush Snap’s creative market opportunity by cloning its products.)
“This one applies not only to social network initiatives but privacy-friendly products too,” argues Hernández. “The problem with that approach is that the problems they solve or claim to solve are most of the time not mainstream. Such as the lack of privacy.
“While these products might do okay with the people that understand the problems, at the end of the day that’s a very tiny percentage of the market. The solution these products often present to this issue is educating the population about the problems. This process takes too long. And in topics like privacy and security, it’s not easy to educate people. They are topics that require a knowledge level beyond the one required to use the technology and are hard to explain with examples without entering into the conspiracy theorist spectrum.”
So the Openbook team’s philosophy is to shake things up by getting people excited for alternative social networking features and opportunities, with merely the added benefit of not being hostile to privacy nor algorithmically chain-linked to stoking fires of human outrage.
The reliance on digital currency for the business model does present another challenge, though, as getting people to buy into this could be tricky. After all payments equal friction.
To begin with, Hernández says the digital currency component of the platform would be used to let users list secondhand items for sale. Down the line, the vision extends to being able to support a community of creators getting a sustainable income — thanks to the same baked in coin mechanism enabling other users to pay to access content or just appreciate it (via a tip).
So, the idea is, that creators on Openbook would be able to benefit from the social network effect via direct financial payments derived from the platform (instead of merely ad-based payments, such as are available to YouTube creators) — albeit, that’s assuming reaching the necessary critical usage mass. Which of course is the really, really tough bit.
“Lower cuts than any existing solution, great content creation tools, great administration and overview panels, fine-grained control over the view-ability of their content and more possibilities for making a stable and predictable income such as creating extra rewards for people that accept to donate for a fixed period of time such as five months instead of a month to month basis,” says Hernández, listing some of the ideas they have to stand out from existing creator platforms.
“Once we have such a platform and people start using tips for this purpose (which is not such a strange use of a digital token), we will start expanding on its capabilities,” he adds. (He’s also written the requisite Medium article discussing some other potential use cases for the digital currency portion of the plan.)
At this nascent prototype and still-not-actually-funded stage they haven’t made any firm technical decisions on this front either. And also don’t want to end up accidentally getting into bed with an unethical tech.
“Digital currency wise, we’re really concerned about the environmental impact and scalability of the blockchain,” he says — which could risk Openbook contradicting stated green aims in its manifesto and looking hypocritical, given its plan is to plough 30% of its revenues into ‘give-back’ projects, such as environmental and sustainability efforts and also education.
“We want a decentralised currency but we don’t want to rush into decisions without some in-depth research. Currently, we’re going through IOTA’s whitepapers,” he adds.
They do also believe in decentralizing the platform — or at least parts of it — though that would not be their first focus on account of the strategic decision to prioritize product. So they’re not going to win fans from the (other) crypto community. Though that’s hardly a big deal given their target user-base is far more mainstream.
“Initially it will be built on a centralised manner. This will allow us to focus in innovating in regards to the user experience and functionality product rather than coming up with a brand new behind the scenes technology,” he says. “In the future, we’re looking into decentralisation from very specific angles and for different things. Application wise, resiliency and data ownership.”
“A project we’re keeping an eye on and that shares some of our vision on this is Tim Berners Lee’s MIT Solid project. It’s all about decoupling applications from the data they use,” he adds.
So that’s the dream. And the dream sounds good and right. The problem is finding enough funding and wider support — call it ‘belief equity’ — in a market so denuded of competitive possibility as a result of monopolistic platform power that few can even dream an alternative digital reality is possible.
In early April, Hernández posted a link to a basic website with details of Openbook to a few online privacy and tech communities asking for feedback. The response was predictably discouraging. “Some 90% of the replies were a mix between critiques and plain discouraging responses such as “keep dreaming”, “it will never happen”, “don’t you have anything better to do”,” he says.
(Asked this April by US lawmakers whether he thinks he has a monopoly, Zuckerberg paused and then quipped: “It certainly doesn’t feel like that to me!”)
Still, Hernández stuck with it, working on a prototype and launching the Kickstarter. He’s got that far — and wants to build so much more — but getting enough people to believe that a better, fairer social network is even possible might be the biggest challenge of all.
For now, though, Hernández doesn’t want to stop dreaming.
“We are committed to make Openbook happen,” he says. “Our back-up plan involves grants and impact investment capital. Nothing will be as good as getting our first version through Kickstarter though. Kickstarter funding translates to absolute freedom for innovation, no strings attached.”
You can check out the Openbook crowdfunding pitch here.
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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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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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Instagram’s CEO on vindication after 2 years of reinventing Stories
“I think the mistake everyone made was to think that Stories was a photography product,” says Instagram CEO Kevin Systrom. “If you look at all these interactivity features we’ve added, we’ve really made Stories something else. We’ve really innovated and made it our own.”
His version of the ephemeral slideshow format turns two years old today. By all accounts, it’s a wild success. Instagram Stories has 400 million daily users, compared to 191 million on Snapchat, which pioneered Stories. While the first year was about getting to parity with augmented reality filters and stickers, the two have since diverged. Instagram chose the viral path.
Interactivity > Photoshop
Snapchat has become more and more like Photoshop, with its magic eraser for removing objects, its green screen-style background changer, scissors for cut-and-pasting things and its fill-in paint bucket. These tools are remarkably powerful for living in a teen-centric consumer app. But many of these artistic concepts are too complicated for day-to-day Snapping. People don’t even think of using them when they could. And while what they produce is beautiful, the slides get tapped past and disappear just like any other photo or video.
Instagram could have become Photoshop. Its early photo-only feed’s editing filters and brightness sliders pointed in that direction. Instead, it chose to focus not on the “visual” but the “communication.” Instagram increasingly treats Stories as a two-way connection between creators and fans, or between friends. It’s not just one-to-many. It’s many-to-one, as well.
Instagram Stories arrived three years after Snapchat Stories, yet it was the first to let you tag friends so they’d get a notification. Now those friends can repost Stories you tag them in, or public posts on which they want to comment. You could finally dunk on other Instagrammers like you do with quote-tweets. It built polls with sliders friends can move to give you feedback about “how ridiculous is my outfit today?” Music stickers let you give a corny joke a corny soundtrack or share the epic song you heard in your head while looking out upon a beautiful landscape. And most recently, it launched the Question sticker so you can query friends through your Story and then share their answers there too. Suddenly, anyone could star in their own “Ask Me Anything.”
None of these Instagram tools require much “skill.” They’re designed not for designers, but for normal people trying to convey how they feel about the world around them. Since we’re social creatures, that perception is largely colored by someone’s friends or audience. Instagram lets you make them part of the Story. And the result is a product that grabs non-users or casual users and pulls them deeper into the Instagram universe, exposing people to the joy of creating something that lasts until tomorrow, not always forever.
Snap has been trying to get more interactive too, adding tagging for instance. It’s also got new multiplayer filter games called Snappables where you play with your face and can then post the footage to your Story. But again, they feel overly involved and therefore less accessible than where Instagram is going.
Stories express Instagram’s wild side
Mimicking Photoshop reinforces the idea that everything has to look polished. That’s the opposite of what Systrom was going for with the launch of Instagram Stories. “There will always be an element in any public broadcast system of trying to show off,” Systrom explains. “But what I see is it moving in the other direction. GIF stickers allow you to be way more informal than you used to be. Type mode means now people are just typing in thoughts rather than actually taking photos. Things like Superzoom with the TV effect or the beats — it’s anything but polished. If anything it’s a joke. Quantitatively people feel comfortable to post way more to Stories than to feed.”
Systrom is about to go on paternity leave, and has been using Stories from friends with kids to collect ideas about what to do with his own. When asked if he thinks Stories produces less of the dangerous envy inherent in the feeds of social media success theater we passively consume, Systrom tells me, “Just personally, it’s inspired me rather than it’s created any sense that I’m missing out.” Of course, that might be related to the fact that his life of attending the Met Gala and bicycling through Europe doesn’t leave much to envy.
AR filters have become table stakes for Stories. On the left, Instagram. On the right, Snapchat.
The sense of comfort powered by Instagram purposefully pushing Stories to diverge from its classy feed has contributed to its explosion in popularity — not just for Stories but Instagram as a whole. It now has more than 1 billion users, in part driven by it introducing Stories to developing countries Snapchat never penetrated.
“Remember how at the launch of Stories, I said it was a format and we want to make it original? And there was a bunch of criticism around us adopting this format?” Systrom chides, knowing a fair amount of that criticism came from me. “My response was this is a format and we’re going to innovate and make it our own. The whole idea there is to make it not just about photography but about expression. It’s a canvas for you to express yourself.”
At the time, Systrom also told me, regarding copying Snapchat, “They deserve all the credit.” But Stories has since emerged as how Instagram expressed itself too, allowing it to break away from the staid perfection of the feed, becoming something much more goofy.
That success has emboldened it to try something truly new. IGTV lets people share longer-form vertical videos up to an hour in length in an age when vertical is for 15-second Stories and lengthy clips only exist in landscape mode.
“What I’m most proud of is that Instagram took a stand and tried a brand new thing that is frankly hard to pull off. Full-screen vertical video that’s mobile only. That doesn’t exist anywhere else,” Systrom beams. “So the question is can we pull that off, and the early signs are really good.” We’ll see if that’s born out in the numbers. Stories benefited from early adopters immediately knowing what to post thanks to Snapchat. The price IGTV pays for originality is a steep learning curve.
Swallowing his pride saved Facebook
Last week when Facebook announced its revenue was decelerating as users shifted attention from its lucrative News Feed to Stories where it’s still educating advertisers, its share price tanked, deleting $120 billion in market cap. Yet imagine how much further it would have dropped if Systrom hadn’t been willing to put his pride aside, take Snapchat Stories, and give it the Insta spin? Instead, it led the way to Facebook now having more than 1.1 billion (duplicated) daily Stories users across its apps. That poises Facebook and Instagram to earn a ton off of Stories.
“There was a long time that desktop advertising worked really, really well, but we knew the future was mobile and we’d have to go there. There was some short-term pain. Everyone was worried that we wouldn’t monetize as well,” Systrom remembers. “We believe the future is the combination of feed and Stories, and it just takes time for Stories to get to the same level or even exceed feed.”
So does he feel vindicated in that once-derided decision to think of Stories not as Evan Spiegel’s property but a medium meant for everyone? “I don’t wake up everyday trying to feel vindicated. I wake up everyday trying to make sure our billion users have amazing stuff to use. I just feel lucky that they love what we produce,” Systrom says with a laugh. “I don’t know if that fits your definition of vindicated.”
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Facebook and Instagram now show how many minutes you use them
It’s passive zombie-feed scrolling, not active communication with friends, that hurts our health, according to studies Facebook has been pointing to for the last seven months. Yet it’s treating all our social networking the same with today’s launch of its digital well-being screen-time management dashboards for Facebook and Instagram in the U.S. before rolling them out to everyone in the coming weeks.
Giving users a raw count of the minutes they’ve spent in their apps each day in the last week plus their average across the week is a good start to making users more mindful. But by burying them largely out of sight, giving them no real way to compel less usage and not distinguishing between passive and active behavior, they seem destined to be ignored while missing the point the company itself stresses.
TechCrunch scooped the designs of the two separate but identical Instagram and Facebook tools over the past few months thanks to screenshots from the apps’ code generated by Jane Manchun Wong. What’s launching today is what we saw, with the dashboards located in Facebook’s “Settings” -> “Your Time On Facebook” and Instagram’s “Settings” -> “Your Activity.”
Unfortunately, you’ll only see info about your usage on the mobile app on that device. It won’t include your minutes spent on desktop, where these features don’t appear, what you do on your tablet or info about your usage across the Facebook family of apps. There are no benchmarks about how long other people your age or in your country spend in the apps. All of these would make nice improvements to the dashboards.
Beyond the daily and average minute counts, you can set a daily “limit” in minutes, after which either app will send you a reminder that you’ve crossed your self-imposed threshold. But they won’t stop you from browsing and liking, or force you to dig into the Settings menu to extend your limit. You’ll need the willpower to cut yourself off. The tools also let you mute push notifications (you’ll still see in-app alerts), but only for as much as 8 hours. If you want anything more permanent, you’ll have to dig into their separate push notification options menu or your phone’s settings.
The announcement follows Instagram CEO Kevin Systrom’s comments about our original scoop, where he tweeted “It’s true . . . We’re building tools that will help the IG community know more about the time they spend on Instagram – any time should be positive and intentional . . . Understanding how time online impacts people is important, and it’s the responsibility of all companies to be honest about this. We want to be part of the solution. I take that responsibility seriously.”
Users got their first taste of Instagram trying to curtail overuse with its “You’re All Caught Up” notices that show when you’ve seen all your feed posts from the past two days. Both apps will now provide callouts to users teaching them about the new activity-monitoring tools. Facebook says it has no plans to use whether you open the tools or set daily limits to target ads. It will track how people use the tools to tweak the designs, but it sounds like that’s more about what time increments to show in the Daily Reminder and Mute Notifications options than drastic strengthening of their muscle. Facebook will quietly keep a tiny fraction of users from getting the features to measure if the launch impacts behavior.
“It’s really important for people who use Instagram and Facebook that the time they spend with us is time well spent,” Ameet Ranadive, Instagram’s Product Director of Well-Being, told reporters on a conference call. “There may be some trade-off with other metrics for the company and that’s a trade-off we’re willing to live with, because in the longer term we think this is important to the community and we’re willing to invest in it.”
Facebook needs stronger screen time tools that deter passive browsing
Facebook has already felt some of the brunt of that trade-off. It’s been trying to improve digital well-being by showing fewer low-quality viral videos and clickbait news stories, and more from your friends since a big algorithm change in January. That’s contributed to a flatlining of its growth in North America, and even a temporary drop of 700,000 users early this year, while it also lost 1 million users in Europe this past quarter. That led to Facebook’s slowest user growth rates in history, triggering a 20 percent, $120 billion market cap drop in its share price. “The changes to the News Feed back in January were one step . . . giving people a sense of their time so they’re more mindful of it is the second step,” says Ranadive.
The fact that Facebook is willing to put its finances on the line for digital well-being is a great step. It’s a smart long-term business decision, too. If we feel good about our overall usage, we won’t ditch the apps entirely and could keep seeing their ads for another decade. But it’s likely to be changes to the Facebook and Instagram feeds that prioritize content you’ll comment on rather than look at and silently scroll past that will contribute more to healthy social networking than today’s toothless tools.
While iOS 12’s Screen Time and Android’s new Digital Wellbeing features both count your minutes on different apps too, they offer more drastic ways to enforce your own good intentions. iOS will deliver a weekly usage report to remind you the features exist. Android’s is best-in-class because it grays out an app’s icon and requires you to open your settings to unlock an app after you exceed your daily limit.
iOS Screen Time (left) and Android Digital Wellbeing (right)
To live up to the responsibility Systrom promised, Facebook and Instagram will have to do more to actually keep us mindful of the time we spend in their apps and help us help ourselves. Let us actually lock ourselves out of the apps, turn them grayscale, fade their app icons or persistently show our minute count onscreen once we pass our limit. Anything to make being healthy on their apps something you can’t just ignore like any other push notification.
Or follow the research and have the dashboards actually divide our sharing, commenting and messaging time from our feed scrolling, Stories tapping, video watching and photo stalking. The whole point is that social networking isn’t all bad, but there are behaviors that hurt. Most of us aren’t going to give up Facebook and Instagram. Even just trying to spend less time on them is difficult. But by guiding us toward the activities that interconnect us rather than isolate us, Facebook could get us to shift our time in the right direction.
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