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Instagram is developing its own version of Twitter’s Super Follow with ‘Exclusive Stories’

Instagram is building its own version of Twitter’s Super Follow with a feature that would allow online creators to publish “exclusive” content to their Instagram Stories that’s only available to their fans — access that would likely come with a subscription payment of some kind. Instagram confirmed the screenshots of the feature recently circulated across social media are from an internal prototype that’s now in development, but not yet being publicly tested. The company declined to share any specific details about its plans, saying the company is not at a place to talk about this project just yet.

Image Credits: Exclusive Story in development via Alessandro Paluzzi

The screenshots, however, convey a lot of about Instagram’s thinking as they show a way that creators could publish what are being called “Exclusive Stories” to their account, which are designated with a different color (currently purple). When other Instagram users come across the Exclusive Stories, they’ll be shown a message that says that “only members” can view this content. The Stories cannot be screenshot either, it appears, and they can be shared as Highlights. A new prompt encourages creators to “save this to a Highlight for your Fans,” explaining that, by doing so, “fans always have something to see when they join.”

The Exclusive Stories feature was uncovered by reverse engineer Alessandro Paluzzi, who often finds unreleased features in the code of mobile apps. Over the past week, he’s published a series screenshots to an ongoing Twitter thread about his findings.

Image Credits: Instagram Exclusive Story Highlight feature in development via Alessandro Paluzzi (opens in a new window)

Exclusive Stories are only one part of Instagram’s broader plans for expanded creator monetization tools.

The company has been slowly revealing more details about its efforts in this space, with Instagram Head Adam Mosseri first telling The Information in May that the company was “exploring” subscriptions along with other new features, like NFTs.

Paluzzi also recently found references to the NFT feature, Collectibles, which shows how digital collectibles could appear on a creator’s Instagram profile in a new tab.

Image Credits: Instagram NFT feature in development via Alessandro Paluzzi (opens in a new window)

 

Instagram, so far, hasn’t made a public announcement about these specific product developments, instead choosing to speak at a high-level about its plans around things like subscriptions and tips.

For example, during Instagram’s Creator Week in early June — an event that could have served as an ideal place to offer a first glimpse at some of these ideas — Mosseri talked more generally about the sort of creator tools Instagram was interested in building, without saying which were actually in active development.

“We need to create, if we want to be the best platform for creators long term, a whole suite of things, or tools, that creators can use to help do what they do,” he said, explaining that Instagram was also working on more creative tools and safety features for creators, as well as tools that could help creators make a living.

“I think it’s super important that we create a whole suite of different tools, because what you might use and what would be relevant for you as a creator might be very different than an athlete or a writer,” he said.

“And so, largely, [the creator monetization tools] fall into three categories. One is commerce — so either we can do more to help with branded content; we can do more with affiliate marketing…we can do more with merch,” he explained. “The second is ways for users to actually pay creators directly — so whether it is gated content or subscriptions or tips, like badges, or other user payment-type products. I think there’s a lot to do there. I love those because those give creators a direct relationship with their fans — which I think is probably more sustainable and more predictable over the long run,” Mosseri said.

The third area is focused on revenue share, as with IGTV long-form video and short-form video, like Reels, he added.

Image Credits: Instagram Exclusive Story feature in development via Alessandro Paluzzi (opens in a new window)

Instagram isn’t the only large social platform moving forward with creator monetization efforts.

The membership model, popularized by platforms like OnlyFans and Patreon, has been more recently making its way to a number of mainstream social networks as the creator economy has become better established.

Twitter, for example, first announced its own take on creator subscriptions, with the unveiling of its plans for the Super Follow feature during an Analyst Day event in February. Last week, it began rolling out applications for Super Follows and Ticked Spaces — the latter, a competitor to Clubhouse’s audio social networking rooms.

Meanwhile, Facebook just yesterday launched its Substack newsletter competitor, Bulletin, which offers a way for creators to sell premium subscriptions and access member-only groups and live audio rooms. Even Spotify has launched an audio chat room and Clubhouse rival, Greenroom, which it also plans to eventually monetize.

Though the new screenshots offer a deeper look into Instagram’s product plans on this front, we should caution that an in-development feature is not necessarily representative of what a feature will look like at launch or how it will ultimately behave. It’s also not a definitive promise of a public launch — though, in this case, it would be hard to see Instagram scrapping its plans for exclusive, member-only content given its broader interest in serving creators, where such a feature is essentially part of a baseline offering.



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FTC’s antitrust case against Facebook falters but doesn’t quite fall in federal court

An antitrust suit against Facebook by the FTC and several states had the wind taken out of its sails today by a federal judge, who ruled that the plaintiffs don’t provide enough evidence that the company exerts monopoly control over social media. The court was more receptive, however, to revisiting the acquisitions of Instagram and WhatsApp, and the case was left open for regulators to take another shot at it.

The court decision was in response to a Facebook motion to dismiss the suit. Judge James Boesberg of the D.C. circuit explained that the provided evidence of monopoly and antitrust violations was “too speculative and conclusory to go forward.” In a more ordinary industry, it might have sufficed, he admits, but “this case involves no ordinary or intuitive market.”

It was incumbent on the plaintiffs to back up their allegation of Facebook controlling 60 percent of the market with clear and voluminous data and a convincing delineation of what exactly that market comprises — and it failed to do so, wrote Boesberg. Therefore he dismissed the complaints in accordance with Facebook’s legal argument. (I’ve asked the FTC and Facebook for comment and will update this post if I hear back.)

On the other hand, Boesberg is sensible that lack of evidence in the record does not mean that the evidence does not exist. So he his giving the FTC and states 30 days to amend their filing, after which the complaints will be reevaluated.

He also found that Facebook’s logic for dismissing the suit’s allegations regarding its controversial acquisitions of Instagram and WhatsApp was lacking.

Facebook argued that even supposing that these acquisitions were somehow problematic, the FTC is not authorized to prosecute such “long-past conduct” and is limited to more recent or imminent problems. Boesberg was not convinced, finding precedent that essentially says such mergers are legally considered current as long as they exist, and the government can revisit them any time it thinks it has cause.

That may very well be the plan of the FTC’s new Chair, Lina Khan, who has taken a hawkish regulatory position regarding antitrust in general and past acquisitions specifically. At her confirmation hearing she commented that the approvals of the mergers may have been made without complete information and as such represented a “missed opportunity” to understand and build rules around.

The 30 day punt in fact may be a great opportunity for Khan to put her ideas into practice, as the judge practically literally invites them to rewrite the complaint with more information. Whether she and the FTC have enough material to put together a compelling case remains to be seen, but one thing is for certain: Facebook should put the champagne back in the fridge, for now at least. Khan may not stop at a slap on the wrist.



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Foursquare founder Dennis Crowley steps back from the company

Foursquare co-founder Dennis Crowley has announced that he is stepping back from his full-time role at the company. During the first seven years of the company, he was the startup’s Chief Executive Officer. In 2016, Crowley moved to an executive chairman position. He’s also been running the Foursquare Labs R&D group since then.

Going forward, Crowley won’t be working full-time at the company. He’ll remain on the Board of Directors as co-chair with Factual founder Gil Elbaz.

In 2009, Foursquare was better known for its location-based social network. People would check in to locations to share what they’ve been up to with their friends. Users would earn badges and mayorships.

Over the years, the most active users had amassed thousands of checkins. Foursquare became a great app to keep track of places you like. You could also use it to discover your friends’ favorite places.

That’s why the company decided to split its main app into two separate apps — the Foursquare City Guide and Swarm. At the same time, the company started working on developer APIs and SDKs so that other companies could take advantage of Foursquare’s location data.

That business in particular has been quite lucrative. With the company’s Pilgrim SDK, developers can build location-aware apps. For instance, an advertiser can send a personalized notification based on where you are. Foursquare tries to be as accurate as possible and can sometimes even figure out when you enter or exit a venue.

That SDK enables many different possibilities. It’s easy to track the impact of an advertising campaign on online sales, but what about offline interest?

Foursquare’s SDK can help advertisers and brands see whether an advertising campaign has an impact on foot traffic. Of course, you can also combine that data with other customer data.

The company has become an important advertising and marketing platform focused on location. Overall, the company has generated more than $100 million in revenue in 2020. And it plans to grow in 2021 and beat that number.

Crowley mentions two reasons why he’s leaving now. According to him, the company is doing well, and he’s been working on the same thing for 12 years already.

“Foursquare hasn’t just found its way… it leads the way. I used to say that my goal was to make the name ‘Foursquare’ synonymous with ‘innovation in contextual aware computing’… And, here in 2021, we’ve built the tools and frameworks that can make that so,” Crowley writes in a blog post.

“Also, 12 years is a lot of time. I have lots of things I still want to build — many of which don’t fit neatly into the Foursquare of 2021 (and, hey fellow founder, it’s fine to feel this way!),” he adds. He’s also going to spend some well-deserved time with his family.

Crowley has been an iconic startup founder during the Web 2.0 era. He managed to attract tens of millions of users. It’s clear that he’s been a great product CEO during the early years of the company. And now, the company is also generating revenue. So it’s going to be interesting to see what he builds next.

 



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Egypt’s Minly raises $3.6M to connect celebrities and fans through personalized experiences

In the past couple of years, we’ve seen a growing trend of creators adopting digital and social media, not just as a supplement to their media presence but also as a cornerstone of their personal brand.

The pandemic has surely accelerated creator economy trends. Many popular artists and figures have had to postpone concerts and live events, subsequently using social media to carry out these activities and engage their fans. Proliferating through Western and far East markets, the creator economy bug, which has made platforms like Cameo and Patreon unicorns, is beginning to take centre stage in MENA.

Today, Minly, an Egypt-based creator economy platform, is announcing that it has closed a $3.6 million seed round to allow stars across the MENA region to create authentic, personalized connections with their fans.

The round, which Minly says was oversubscribed, was co-led by 4DX Ventures, B&Y Venture Partners, and Global Ventures. It also included participation from unnamed regional funds and angel investors like Scooter Braun, founder of SB Projects and Jason Finger, co-founder of Seamless and Grubhub. 

Experts say time spent viewing social media surpassed time spent viewing TV within the MENA region. But one shortcoming with social media is that its content often feels mass-produced. When creators make posts, it’s most times void of personalization to the different categories of fans they possess. In a way, this dilutes the fan experience and limits the extent and number of ways the creator can monetize.

This is where Minly comes in. The company was founded last year by Mohamed El-Shinnawy, Tarek Hosny, Tarek ElGanainy, Ahmed Abbas, and Bassel El-Toukhy. It provides tools for creators to craft what it calls ‘authentic connections’ with their superfans and audience at scale. “In short, our goal is to eventually deliver tens of millions of unique, unforgettable experiences to fans each year,” El-Shinnawy said to TechCrunch.

Shinnawy, who brings more than 15 years of media and technology experience to the table, is the chief technology officer at Minly. He sold his first company Emerge Technology to a U.S.-based media company. He has also delivered work for Hollywood’s top studios, such as Sony Pictures, Universal, Disney, Fox, and Warner Brothers, while playing a role in the global expansion of Apple TV+, Disney+, and Netflix to the MENA region.

Minly

Mohamed El-Shinnawy (co-founder and CTO, Minly)

Minly has experienced rapid growth since launching late last year. It has more than 50,000 users and an impressive list of popular regional celebrities ranging from actors and athletes like Fifi Abdou and Mahmoud Trezeguet to musicians and internet influencers like Assala Nasri and Tamer Hosny.

On the platform, users can buy personalized video messages and shoutouts from these celebrities, and they, in turn, connect with their fans on a more personal level. We think that we have already differentiated ourselves from other creator economy platforms in the region. We do this by offering the best catalogue of stars and user experience. And our entire team is working hard to grow this gap even further,” said El-Shinnawy on the crop of celebrities Minly has onboarded to the platform

Some of the instances where celebrities connected with their fans on Minly include when actress and dancer Fifi Abdou sent a personal message to one of her biggest fans who has Down syndrome and when Egyptian singer Tamer Hosny made a surprise appearance at two fans’ engagement party in March.

Minly takes a small commission on transactions made through its platform. However, the majority of the transaction price, a figure Minly didn’t disclose, goes directly to creators. And at the same time, Minly urges celebrities to automatically donate a portion of their earnings to partner charities on the platform.

Minly’s knack for creating a personalized experience is why Pan-African VC firm 4DX Ventures invested. The firm’s co-founder and general partner Peter Orth, who will be joining Minly’s board, said the company is fundamentally changing the relationship between celebrities and fans in the MENA region. “The team has both the ambition and the expertise to build a full-stack digital interaction platform that could change the way digital content is created and consumed in the region,” he added. 

The creator economy market surpassed $100 billion in value this year and is still growing at an impressive rate. The pace of content creation will only speed up since surveys suggest that being a YouTuber or TikTokker or the most common term, a Vlogger is one the most desirable careers among Gen Zs. VC heavyweights like Andreessen Horowitz, Kleiner Partners, and Tiger Global have also heralded this growth considerably, contributing to the more than $2 billion invested in creator economy platforms this year.

In MENA, there’s a huge opportunity for Minly. The region has over 450 million people, of which 30% are between the ages of 18 to 30. This demography is known to have a deep connection with social media, and El-Shinnawy believes MENA will soon contribute to a large part of the total creator economy.

For Minly, the goal is to capture a huge portion of that spend and become a multi-billion dollar category-leading company. The creator platform has a case to do so. As it stands, the opportunity to build a creator economy one-stop-shop in MENA is huge compared to other regions that already have multiple entrenched incumbents. Also, Minly is one of the few platforms in the region with meaningful venture funding.

“The creator economy is in its infancy and growing at lightning speed. We have the opportunity to build this category’s first unicorn in MENA,” the CTO remarked.

With this investment, Minly is doubling down on building local celebrity acquisition teams in Egypt and other parts across MENA and the GCC, where it has seen significant traction. The company will also scale its engineering team to churn out more products to build a horizontal creator platform.



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Startup leaders need to learn how to build companies ready for crisis

It’s been a tough year for business. From ransomware attacks and power outages to cloud downtime and supply-chain disruptions, it’s never been more important to communicate to customers and stakeholders about what’s going wrong and why. Yet, with partial data and misinformation often spreading faster than official word, it’s also never been harder to deliver accurate and timely messages.

Given the complexities of this environment, I wanted to convene a group of specialists to talk about what the future of crisis comms holds for startups, technology companies, and business more broadly. We had a great set of three folks discuss how to build resilient orgs, handle the decentralization going on in tech today, and how to prioritize crisis management over the mundane tasks every day.

Joining us were:

  • Admiral Thad Allen, who as commandant of the Coast Guard and during his career, was commander of the Atlantic coast during 9/11, and led federal responses during Hurricane Katrina, the Deepwater Horizon oil spill, and the 2010 Haiti earthquake.
  • Ana Visneski, who worked with Allen on building out the Coast Guard’s first digital presence as an officer and chief of media, is now senior director of communications and community at H20.ai and was formerly global principal of disaster communications for Amazon Web Services.
  • John Visneski is the chief information security officer (CISO) at Accolade, and was formerly director of information security at The Pokémon Company. He served 10 years in the U.S. Air Force, where he served as chief of executive communications, and yes, is Ana’s brother.

This discussion has been edited and condensed for clarity

Prepping an organization for catastrophe

Danny Crichton: You’ve all been in disaster communications, in some cases for decades. What are some of the top-level lessons you’ve learned about the field?

Admiral Thad Allen: Great communications and great communications people can’t save a dysfunctional organization. There’s only so much you can do with what you’ve got. I want to say that as a proviso because I’ve seen a lot of people try to communicate their way out of a problem.

The big difference between Katrina in 2005 and the Deepwater Horizon oil spill in 2010 was Katrina was before Twitter and Facebook and Deepwater was after it. In the old days, you went out and did your job. There might be an after-action report, but it was pretty much done within your organizational structure.

I’m going to really date myself. We sent forces into Somalia [around 1993]. It was the first time in history that CNN watched the people come to shore from the amphibious vehicles and I knew life had changed dramatically. There is no operation that takes place these days where the public is not part of the operation, part of the environment, part of the outcomes that are generated. If you fail to realize that, you’re going to fail right away. Anybody who’s got a cell phone enters your world of work.

So the question is, how do you think about that? That’s resulted in a significant Black Lives Matter movement with George Floyd and somebody happened to be there with a cell phone, and if that had not happened, that situation probably would not have turned out the way it did. So the question is what are we to make of that loop?

John Visneski: Generally speaking, your organizational hierarchies are not designed to be optimized for a crisis. They’re designed to build consensus. They’re designed to understand budgets. They’re designed for long-term planning. It’s the same in the military and it’s even worse in the private sector. And so there’s no concept of situational leadership. There’s no concept of who’s actually in charge during a particular crisis.

In recent attacks, the folks that were in my position, didn’t do a good enough job of explaining the technical aspects of what was going on in such a way that their organization could channel that into something that could then be translated to the public.

Ana Visneski: That’s actually called the theory of excellence in crisis communications, which is basically you have to have this transparency and this well-organized system before something goes wrong. And almost everyone doesn’t.

A good example is in 2017, when S3 broke for AWS, which is how I ended up doing crisis comms for them. I looked around and I said, “Well, why don’t we use our crisis comms plan?” And my boss said, “Our what?” And so I ended up building the critical event protocol and I built it based off the Incident Command System (ICS) that is used by federal agencies during a disaster. And essentially it was a big red button that says “Stop! Everyone get on a call, figure out who’s in charge of responding” that just unifies everyone.

Admiral Thad Allen: I’ll give you a classic antidote because I’ve written about it quite a bit. When I was going to the Sloan School at MIT, in December of ’88, we went down to New York and visited a bunch of CEO’s, and one of the days we went across the river to see the CEO at Exxon, a guy named [Lawrence G. Rawl]. During the discussion, I asked, “Bhopal was the biggest industrial accident in the history of the world today. As a CEO running a big corporation, have you thought about what happened if you had a similar Bhopal-type situation?” He spent 20 minutes going over their extremely well-thought-out communications plan and four months later, the Exxon Valdez ran underground and they actually failed at everything.

A Lockheed C-130 plane sprays dispersant over the Exxon Valdez oil spill in Prince William Sound, Alaska, USA. Image Credits: Natalie Fobes via Getty Images.

John Visneski: Your plan that you write down on paper is only as good as how much you practice it. Right? One of the things that the military typically is pretty good at is practicing before you play. Doing mock drills, doing tabletop exercises, having a red team that throws things at you that you might not expect.

Admiral Thad Allen: Yeah. I’ve dealt with a couple of large firms that have had very big problems. The default setting, if you haven’t thought about this ahead of time, is they go to a subject matter expert and hold them accountable for what the organization should do. That is not the way to do it. You need a designated person to create unity of effort. It’s got to involve the C-suite, and it’s got to involve not only your clients and your stakeholders, but your supply chain.

Ana Visneski: We keep talking about training, but just having a plan in the first place is critical. With some of these big companies, they’re so siloed that when something like this happens, everyone’s trying to do the right thing and running into each other. If you don’t have redundancies built in and backups for your backups, you’re going to go down hard.

You’ve got a plan for what happens if your main spokesperson was the incident? Or what happens if there was an earthquake and, all of a sudden, you don’t have your C-suite to talk? And John can talk a lot about this, but the last mile is another problem with crisis comms. If it’s a big disaster, you’ve got to plan around your tech, how are you going to get the information from the field back to where you can actually broadcast it out to people?

Admiral Thad Allen: When I got called to go to Katrina, I was on my way to the airport and the last thing I did was I sent my son along to a Best Buy to get me a mobile handheld and a SiriusXM receiver, so I could have awareness of what was being done. As far as the communications, a thing like that was the smartest thing I did.

Thad Allen (center) in the disaster aftermath of Hurricane Katrina, September 2005. Image Credits: Justin Sullivan

John Visneski: One of the biggest challenges is this all needs to be resourced, right? Your company needs to actually dedicate resources to that prior planning. To being able to build out the infrastructure, to being able to have hot-swap data centers and locations and things like that. And sometimes whether it’s your board or whether it’s your CFO or whoever’s holding the purse strings for your organization, it’s really hard to justify the return on investment that a lot of folks see as sort of a rainy day fund.

So it’s incumbent upon the leadership of the organization, particularly the leadership that is going to be involved in some sort of a disaster response to get ahead of those conversations and understand how disaster response can do things to protect revenue.

Ana Visneski: Because of the pandemic, we’ve had almost two years of shit hitting the fan. So we’re seeing a lot more C-suite leaders going, “We need to know how to be prepared for what happens next.”

Communicating in a decentralized and flat world

Danny Crichton: If you think about the last 20 years, particularly in the private sector, we went from a model of headquarters buildings, large leadership structures all in one place, oftentimes a fairly hierarchical model of how to operate a company, etc. Today, we’re seeing decentralization, and a sort of horizontalness in a lot of companies. How does this new culture affect disaster communications?

Ana Visneski: Well, now that there is this decentralization, it’s incredibly difficult to wrangle all of your people and get everyone on the same page. And you have to think about what happens if Slack goes down. It goes back to redundancies — you have to have multiple ways of contacting your people.

Along that line, I am not a fan of companies saying is, “You can’t post on social media or you shouldn’t do this or that.” Because all that does is sows distrust. Instead, I am a big fan of training your people to do it right. Of course, you have to have company policy that if someone during a crisis is posting secure information or lies, or is just being a racist jerk, obviously there are consequences, but training your people to use the tool right, helps with transparency.

Admiral Thad Allen: My motto when I was commandant was transparency of information breeds self-correcting behavior. If you put enough information out and everybody holds it, organizational intent becomes embedded into how people see the environment they’re in. They’re going to understand what’s going on and you won’t have to give them a direct order to do the right thing. They’ll understand that. And I think that’s really important.

In the military, we have something called a “common operating picture,” and it’s basically a display where everybody’s at, what they’re doing at any one time. It’s not an order. It’s not hierarchical. Instead, it provides context and provides a window into what you’re doing.

So I think there’s a difference between creating a common operating picture and what actually constitutes authority. If you can separate those, the more you put into the former, the less of the latter you’re going to have to do.

John Visneski: I’m based in Seattle. We have an office in Philadelphia, an office in Houston, an office in San Francisco, and an office in Prague. There’s people in all those offices who are critical for our business. The advantage we have is the advantage that a lot of tech organizations take for granted, which is we were already going through a digital transformation, or we were already on the backside of digital transformation. Cloud focus, Software as a Service, Slack, email, Signal on my phone, a million different ways for me to communicate with my team, communicate with leadership and things like that.

What we take for granted is, there are a lot of organizations in the United States and worldwide that have not gone through that digital transformation. No offense to the military, but when I was at the Pentagon, if email went down, you might as well play hockey in the hallways because no work was going to get done.

Admiral Thad Allen: You can add losing GPS as well.

John Visneski: Exactly. So a lot of organizations have had to come to terms with how do they communicate when they’re distributed like that? The answer isn’t one-size-fits-all. It might be different for an Accolade, different from a Facebook, different from a Twitter, different from a Bank of America or a Bank of New York Mellon. Just based on what their architecture looked like pre-pandemic, what their architecture looks now, and what sort of investments they’ve made to future-proof themselves, should something this ever happen again.

Ana Visneski: I was on a Twitter Space recently, and I was talking that in the United States, especially those of us who are in the tech industry, we tend to take for granted all of this stuff. There are all of these assumptions that are made. In reality, not only do you have to deal with the last mile if a disaster happens, but you also have to deal with the fact that not everyone has one of these super computers in their pockets all over the world.

Residents walk past a downed cell network tower in Polangui, Albay province on December 26, 2016.
Image Credits: CHARISM SAYAT/AFP via Getty Images

Talking about technological arrogance, but people forget radio. People forget that there are these older technologies that in a disaster are still where you’re going to go. John makes fun of me all the time, because I’m trying the new thing every time it comes out, but you can’t forget the stuff that works like radio in the morning.

The crisis of crises and how to handle the infinite range of disasters today

Danny Crichton: The next subject I want to get to is the range and diversity of crises that are hitting organizations today. The Admiral had brought up Exxon and ’89. Okay, you’re an oil company, you have an oil spill — I wouldn’t call it predictable, but you can certainly create a plan. You can say, “Here’s how we need to communicate. Here’s how we handle this.”

But look at the range of stuff we’ve had to deal with in the last year. Everything from a pandemic to Texas power outages, wildfires in California, TSMC is dealing with a drought in Taiwan, you’ve got internal employee hostile workplace protests, external protests, ransomware attacks, bitcoin heists, and on and on.

Ultimately does the same toolbox work no matter what the crisis is? Or do different types of crises demand different kinds of responses? And how would you know the difference?

Admiral Thad Allen: I taught crisis leadership in large complex organizations for four years at George Washington University. In the last class, I told my students to write down the worst catastrophe they could ever think would happen that you have to go and wake up the president in the middle of the night. They all wrote it down on a piece of paper, folded it up and put it in a ball cap. I shook it up and pulled one of the pieces out.

I said to the class, “Just listen to what I’m about to say. Thanks for getting up and coming in early to the White House Press Corps office this morning. I want you to know the president was notified at 4:30 this morning about what happened. He and the First Lady were overwhelmed with grief for the loss of life and the impact on the community. We’ve set up a schedule where we’re going to brief the president every four hours and a meeting following the brief to the president. There’ll be a brief to the press 30 minutes after that. The cabinet’s been advised.” And I went on and on and on.

I finished and I said, “What do you think about that?” And James Carville, who was visiting, said, “It’s great” and he asked, “Well, what was the event?” And I said, “I never opened the paper.” So to your point there’s some things that are just a goddammed no-brainer.

Ana Visneski: I took the ICS [Incident Command System] structure and rebuilt it basically to work in the corporate setting. And the reason that’s so effective is it’s built to be flexible. You have someone who’s in charge overall, you have someone who’s in charge of communications. You have someone who’s in charge of logistics. You have someone who’s in charge of security, and it flexes up or down. And so no one can necessarily predict a “black swan” event. But you can build a core response system that is as close to all hazards as possible.

Admiral Thad Allen: Predict complexity.

Ana Visneski: Yes. And you predict that it will be complex and that nothing goes to plan. We’ve made a lot of jokes that nothing prepared me for a wedding during COVID like having been a first responder. Well, my brother got married last year too. And I did a little bit of help there with my background, but for my wedding, nothing was the same. And it’s the same thing during a disaster. Katrina is different from Gustaf. Gustaf was different from Sandy, but they’re all hurricanes at their core.

Admiral Thad Allen: I just spent an hour with a bunch of government employees earlier today on the same topic. What happens in a “complex” situation is that existing standard operating procedures, legal theories, frameworks, and governance break down and do not work, and they have to be replaced with some other way to deal with it.

ICS allows you to do, and with the right standard doctrine, you can get pretty close to a 50-60% solution that will get you headed in the right direction while you figure out the rest of it.

John Visneski: I’ll say at least from the tech side of things is those plans need to abstract technology almost entirely. Take it up to a level where it doesn’t matter what your communications method is from a technological standpoint. Don’t assume that you’re going to have the bits and bytes flowing the way that we do now. Don’t assume cell towers, don’t assume power, don’t assume any of those sorts of things, because the second that you predicate your plan on those assumptions is the second that the complexity is going to come in and tell you you’re wrong. The 40% that is not planned for is going to become what outweighs the 60%.

Ana Visneski: I think one of the things the tech industry kind of runs into is we are so reliant on the technology now that we can’t imagine what we’d do without it. At the end of the day, good crisis comms relies on good people, and good crisis and disaster response relies on the people doing it.

So you have to build your plan around the people and the structure there, and then use the technology at hand during the event to augment what plans you already have for people. Because by the time I’d write a crisis plan for something. If I included Twitter and blah, blah, blah, well, one like John just said, it’s going to break. Or by the time we have the crisis, the technology has changed and we’re using something else. So you got to write it from a perspective of people first and tech is the tool.

Prioritizing crisis management over the day-to-day metrics of a business

Four business people used ropes to tighten their money bags, economic austerity, reduced income, economic crisis

Image Credits: VectorInspiration via Getty Images

Danny Crichton: Okay, so obviously we should all spend more time figuring out how to communicate better during crises. But everyone is busy, and every person is trying to hit whatever metric they need for the quarter. How do you get a low-risk but hugh-impact issue like crisis management on the priority list?

John Visneski: For a B2B organization or a B2C organization or really anybody that’s selling a particular service, typically you need to lean on compliance requirements first. So customer contracts are going to say, from a security perspective, your data security addendum, your privacy addendums, and things that are generally going to have some language that centers around having a business continuity plan, a disaster response plan, an incident response plan, a cyber incident response plan, and then the really good contracts are the ones that actually specify you’ll do it no less than two times a year. So the first thing to lean on is those compliance requirements, because those will actually directly tie to revenue.

Then the secret sauce and what a lot of us in the cyber community are trying to get better at is how do you take that next step? We know that compliance does not necessarily mean security. We know that just because we have a written business continuity plan and that we say we exercise it, we present a report that says we exercise it, doesn’t necessarily mean we’re going that next mile to make sure that we train our employees. The education piece of it is really what we need to advocate to get additional resources for.

Admiral Thad Allen: My pitch to these big companies is if you’ve got a regulatory requirement, you have a plan that’s required. Why would you fund that and not take the opportunity to add just a little bit of incremental effort and resources to take advantage of the natural cycle that you’re required to do anyway?

Ana Visneski: Hit them where the money is, because a good crisis plan can range in price. Let’s say you spend $200,000 getting your system set up. If you’re looking at these companies, a disaster or a crisis could tank your company. Or it could cost you millions and millions of dollars if you’re not prepared. So at the end of the day, the ROI is huge.

And like I said before, with COVID having just happened, I think more of leadership is aware that, “Hey, we’re not crisis proof just because we’re a gaming company or just because we’re whatever.” No, one’s crisis proof. So at the end of the day, you’re going to save money. If you just do it in the first place, because then you just have to update it every year, and you just have to do a little bit of training. The biggest cost is on the front end and then just maintaining it after that and updating it.

John Visneski: Everyone knows that if something bad happens, if you don’t have plans in place, you’re going to lose a shit load of money. But let’s think about it from a consumer standpoint. Generally speaking, your average consumer is becoming much more conversant when it comes to privacy.

Moving forward, it isn’t enough just to say, “If we don’t have this, things can go really bad.” It’s also to say, “We can leverage this if we do this really well. And if we can advertise to our customers, whether it’s another business or whether it’s the consumer that not only do we protect your data, but also we have all these plans in place in order to react to complex situations.” You can actually use that as something that separates you from your near-peer competitors in the business world.

Ana Visneski: At the end of the day, if the trust isn’t there in the tech and the trust isn’t there that you’re doing the right things, it doesn’t matter what you do when a crisis hits. You’re already in the trashcan.



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On TikTok, Black creators’ dance strike calls out creative exploitation

There’s a new Megan Thee Stallion music video out in time for triple digit temperatures. But instead of launching a fresh viral TikTok dance for summer, the single inspired an informal protest among Black creators tired of thanklessly launching trends into the social media stratosphere.

With the release of the video for “Thot Shit,” some Black TikTok creators began calling attention to that exploitation this week, inspiring others to refuse to choreograph a dance to the hit song. The idea behind the movement is that Black artists on the platform create a disproportionate amount of content and culture — much of which is re-packaged and monetized by popular white creators and culture at large.

The song choice probably isn’t a coincidence. The Megan Thee Stallion video is both a playful but important paean to essential workers — twerking grocery, food service and sanitation workers, in this case — and a biting commentary on the wealthy white establishment that exploits their labor without thinking twice.

The “strike” doesn’t have creators leaving the platform or even staying off of the app. Instead, Black creators who might normally contribute dances for the hot new song are sitting back and pointing to what happens when they’re not around. (Predictably: not a lot.)

On the sound’s page, some videos tease choreography but pivot into a statement about how Black creators don’t get their due on the app. In other videos, Black creators watch on in horror at awkward dance attempts failing to fill the void or laugh about how the song’s lyrics are instructional but non-Black TikTok still can’t figure it out. The eminently danceable “Thot shit” could build into Megan Thee Stallion’s biggest hit yet, but just looking on TikTok you wouldn’t know it.

When reached for comment on the phenomenon, TikTok praised Black creators as a “critical and vibrant” part of the community. “We care deeply about the experience of Black creators on our platform and we continue to work every day to create a supportive environment for our community while also instilling a culture where honoring and crediting creators for their creative contributions is the norm,” a TikTok spokesperson said.

Many TikTok accounts participating in the strike cite a recent explosion of white TikTokkers lip-syncing obliviously to a clip of Nicki Minaj’s 2016 song “Black Barbies” that specifically praises Black bodies (“I’m a fucking Black Barbie/Pretty face, perfect body…”). White TikTok inexplicably flocked to the sound, boosting its popularity and crowding out Black creators. It’s just one incident in a long history of Black creators feeling exploited and appropriated on social networks. Black TikTok dancers have long been left in the cold: Their original dance moves explode in popularity and get picked up by non-Black creators, who also pick up the credit along the way.

The recent strike is the latest beat in the ongoing conversation over who gets to cash in on the wellspring of creativity that pours out of a platform like TikTok. More broadly, some creators believe that TikTok’s economics are stacked against them, even compared to other major platforms like YouTube. Across social media sites, creators, particularly creators of color, are turning to collective action and even unionizing to assert their power.

For Black creators tired of seeing their work appropriated, collectively refusing to gift the world a hot new TikTok dance is certainly one way to show just how vital they are to the online ecosystem — something even a quick glance at the desolate “Thot Shit” sound makes abundantly clear.



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LinkedIn formally joins EU Code on hate speech takedowns

Microsoft-owned LinkedIn has committed to doing more to quickly purge illegal hate speech from its platform in the European Union by formally signing up to a self-regulatory initiative that seeks to tackle the issue through a voluntary Code of Conduct.

In statement today, the European Commission announced that the professional social network has joined the EU’s Code of Conduct on Countering Illegal Hate Speech Online, with justice commissioner, Didier Reynders, welcoming LinkedIn’s (albeit tardy) participation, and adding in a statement that the code “is and will remain an important tool in the fight against hate speech, including within the framework established by digital services legislation”.

“I invite more businesses to join, so that the online world is free from hate,” Reynders added.

While LinkedIn’s name wasn’t formally associated with the voluntary Code before now it said it has “supported” the effort via parent company Microsoft, which was already signed up.

In a statement on its decision to formally join now, it also said:

“LinkedIn is a place for professional conversations where people come to connect, learn and find new opportunities. Given the current economic climate and the increased reliance jobseekers and professionals everywhere are placing on LinkedIn, our responsibility is to help create safe experiences for our members. We couldn’t be clearer that hate speech is not tolerated on our platform. LinkedIn is a strong part of our members’ professional identities for the entirety of their career — it can be seen by their employer, colleagues and potential business partners.”

In the EU ‘illegal hate speech’ can mean content that espouses racist or xenophobic views, or which seeks to incite violence or hatred against groups of people because of their race, skin color, religion or ethnic origin etc.

A number of Member States have national laws on the issue — and some have passed their own legislation specifically targeted at the digital sphere. So the EU Code is supplementary to any actual hate speech legislation. It is also non-legally binding.

The initiative kicked off back in 2016 — when a handful of tech giants (Facebook, Twitter, YouTube and Microsoft) agreed to accelerate takedowns of illegal speech (or well, attach their brand names to the PR opportunity associated with saying they would).

Since the Code became operational, a handful of other tech platforms have joined — with video sharing platform TikTok signing up last October, for example.

But plenty of digital services (notably messaging platforms) still aren’t participating. Hence the Commission’s call for more digital services companies to get on board.

At the same time, the EU is in the process of firming up hard rules in the area of illegal content.

Last year the Commission proposed broad updates (aka the Digital Services Act) to existing ecommerce rules to set operational ground rules that they said are intended to bring online laws in line with offline legal requirements — in areas such as illegal content, and indeed illegal goods. So, in the coming years, the bloc will get a legal framework that tackles — at least at a high level — the hate speech issue, not merely a voluntary Code. 

The EU also recently adopted legislation on terrorist content takedowns (this April) — which is set to start applying to online platforms from next year.

But it’s interesting to note that, on the perhaps more controversial issue of hate speech (which can deeply intersect with freedom of expression), the Commission wants to maintain a self-regulatory channel alongside incoming legislation — as Reynders’ remarks underline.

Brussels evidently sees value in having a mixture of ‘carrots and sticks’ where hot button digital regulation issues are concerned. Especially in the controversial ‘danger zone’ of speech regulation.

So, while the DSA is set to bake in standardized ‘notice and response’ procedures to help digital players swiftly respond to illegal content, by keeping the hate speech Code around it means there’s a parallel conduit where key platforms could be encouraged by the Commission to commit to going further than the letter of the law (and thereby enable lawmakers to sidestep any controversy if they were to try to push more expansive speech moderation measures into legislation).

The EU has — for several years — had a voluntary a Code of Practice on Online Disinformation too. (And a spokeswoman for LinkedIn confirmed it has been signed up to that since its inception, also through its parent company Microsoft.)

And while lawmakers recently announced a plan to beef that Code up — to make it “more binding”, as they oxymoronically put it — it certainly isn’t planning to legislate on that (even fuzzier) speech issue.

In further public remarks today on the hate speech Code, the Commission said that a fifth monitoring exercise in June 2020 showed that on average companies reviewed 90% of reported content within 24 hours and removed 71% of content that was considered to be illegal hate speech.

It added that it welcomed the results — but also called for signatories to redouble their efforts, especially around providing feedback to users and in how they approach transparency around reporting and removals.

The Commission has also repeatedly calls for platforms signed up to the disinformation Code to do more to tackle the tsunami of ‘fake news’ being fenced on their platforms, including — on the public health front — what they last year dubbed a coronavirus infodemic.

The COVID-19 crisis has undoubtedly contributed to concentrating lawmakers’ minds on the complex issue of how to effectively regulate the digital sphere and likely accelerated a number of EU efforts.

 



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Instagram may soon let you post from desktop

After years of solely focusing on its mobile product, Instagram is at long last thinking about letting users post from their computers. A number of Twitter uses noticed that the test feature had gone live Thursday, and Instagram confirmed the test to TechCrunch.

“We know that many people access Instagram from their computer,” an Instagram spokesperson said. “To improve that experience, we’re now testing the ability to create a Feed post on Instagram with their desktop browser.”

Why now? Apparently over the course of the pandemic, the company saw a rise in people cruising Instagram from their computers rather than their phones.

To see if the test is live for you, head to Instagram in your browser and look for a new “plus” icon in the icon tray on the top right. The test isn’t available to everyone and it only allows users to create posts for the main feed.

The new test feature is the company’s most recent sign of life for its desktop product: Instagram added the ability to view Stories on the web in 2017 and added direct messaging to desktop late last year.

“… We haven’t found any evidence that the Instagram desktop web experience cannibalizes engagement from the native apps,” a data scientist with Instagram observed with the launch of web messaging.

“In fact, it’s quite the opposite — users who use both interfaces spend more time on each interface, compared to users who use each interface exclusively.”



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Happs raises $4.7 million for a multicast livestream platform creator community

Happs, an app that lets creators stream live video simultaneously across social platforms, has raised $4.7 million in a post-seed round. The product originally began as a platform for independent journalists, but expanded its mission last year to offer tools to all online creators while connecting them through a new social network.

The funding was led by Bullpen Capital and Crosslink, Goodwater, Corazon, Rob Hayes of First Round Capital and Bangaly Kaba, previously at Instagram and Sequoia, also participated.

What sets Happs apart from some established competitors in the space is the team’s desire to not only build tools that help video creators produce professional-looking online streams, but to cultivate a kind of meta-community that brings people together from across other social media sites.

“We kind of view this as the essence of what the creator economy is all about,” Happs CEO Mark Goldman told TechCrunch. “The idea of locking creators into an individual platform is a very traditional way of thinking about content creation.”

Happs app multistreaming

Like Goldman, the other co-founders, David Neuman and Drew Shepard, come from the media world. Goldman was the founding COO of Current TV, an experimental TV channel that dabbled in user-generated content and eventually sold to Al Jazeera in 2013.

“The whole idea was to democratize media and open it up,” Goldman said of his time working on Current TV, which he connects directly to his interest in building Happs. “[We] loved the creativity unleashed by that.”

Online creators tend to be siloed within the app where they’ve built the biggest community, but Happs wants to empower them to reach as many followers as possible in a platform-agnostic way. For creators, the appeal with multistreaming is maximizing reach while making content efficiently. There’s a risk of alienating YouTube followers at the expense of your Twitch community if you don’t play your cards right, but some savvy content creators have turned toward the model to grow their audiences.

Happs connects people across platforms in a few ways. For one, Happs users can broadcast live to Facebook, YouTube, Twitter and Twitch simultaneously. The app also collects live comments from all supported social media sites and beams them into its own interface where they appear in a continuous cross-platform stream.

The integrated comment feature is nice built-in option for anyone who’s straddled comments across multiple devices simultaneously while livestreaming, which is no easy feat. When you’re streaming live you can feature a comment so that followers can see it on the screen no matter what platform they’re watching on.

Other companies in the space like OBS, Streamlabs and Restream are focused on the tools part of the equation, offering power users a useful backend for pushing out multi-streamed live video. Streamyard also offers multistreaming to Facebook, YouTube, Twitter and other platforms through a simple browser interface.

Unlike those services, Happs feels more like a social network, with familiar features like user profile photos, follower counts and a feed next to a “go live” button. Anyone can use the multi-streaming platform through its iOS or Android apps or a web interface, whether they’re a creator signing up for the tools or a fan looking to support the content they love.

Happs lacks some of its competitors’ bells and whistles, stuff like fancy customized graphics and lower-thirds, but has a few interesting tricks of its own. While streaming live on Happs, you can invite someone else on the app to join your feed for a real-time collaboration. The social networking elements are meant to encourage cross-platform creativity, so a YouTuber and a Twitch personality could hang out together and boost both of their reaches, all while streaming to a bunch of other apps.

Happs also offers users monetization tools from the get-go, with no requirements before they can start making money. That speaks to the app’s appeal for creators who might be less established or just starting out. Happs could be a much harder sell for a popular creator deeply invested in a platform like Twitch, which has rules against multi-streaming for most accounts that are allowed to monetize.

There are a few different ways to monetize. One lets anyone on Happs sponsor a broadcaster through regular monthly payments. The other is a one-off option that lets you chip in an award for any livestream, or to the VOD (video on demand) after the fact. The in-app currency is a virtual coin that users can buy or earn through doing stuff on the app. There are no plans for ads (yet, anyway).

The company will take 30% cut of subscription earnings, though according to Goldman they’ll be waiving those fees for an unspecified period of time to attract people to the platform.

“We raised this round to really build up product and tech team [and] to make the platform much more stable and reliable,” Goldman said. The company is looking forward to leveraging the new resources to “really go out now and get in front of creators so they know Happs exists.”



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Snackpass gobbles up $70M at a $400M+ valuation as its social food ordering platform crosses 500K users

While every food delivery company is trying to get an edge on its rivals with discount codes, faster service, and a turn into the realm of spooky with ghost kitchens and dark stores, a startup built on a lighter, social concept — letting people see what their friends are chomping on, making it possible to order food and drinks for each other and group order, with buyers picking it all up for themselves — has just raised a substantial Series B and says that it is already profitable in a number of markets.

Snackpass, which describes itself as a “food meets friends” — essentially a social commerce platform for ordering from restaurants; “snack,” the CEO tells me, has a double meaning of eating, and a flirtatious reference to a cutie pie — has picked up a $70 million, a super-sized Series B that it will be using to continue expanding to more markets in the U.S.

Conceived four years ago while Kevin Tan, the CEO who co-founded the company with Jamie Marshall, was still a student at Yale studying physics, Snackpass has grown by remaining true to its higher-ed roots. The startup now has 500,000 users across 13 college towns, and has seen its growth explode 7x year-over-year. This round values the startup at over $400 million.

This latest tranche of funding is coming from an interesting group of investors. Led by Craft Ventures, it also includes Andreessen Horowitz (which led its $21 million Series A), General Catalyst, Y Combinator, and a long list of individual backers that speaks to the attention Snackpass is getting and the place it’s carving out for itself as a go-to food platform for millennials and younger users.

That list includes AirAngels, the Airbnb alumni investor syndicate; Bastian Lehmann of the Uber-acquired delivery giant Postmates (et tu, Bastian?); David Grutman, a hospitality entrepreneur; Draymond Green of the Golden State Warriors; Gaingels; HartBeat Ventures, Kevin Hart’s venture fund; musician celebs the Jonas Brothers; Shrug Capital (the VC that says it’s interested in consumer startups that are actually interesting to “non-tech” audiences); Pags Group, the family office of the Boston Celtics co-owner Stephen Pagliuca; hip DJ Steve Aoki; Turner Novak of Banana Capital; William Barnes of Moving Capital; and the Uber alumni investor syndicate.

The vast majority of food-ordering platforms these days are focused on delivery and, in many cases, ways of getting an edge over other platforms in executing on that — a push that often comes at the expense of margins than are thinner than a Roman pizza. Snackpass’s big breakthrough, if you could call it that, was to simply dial back from that one-upmanship, moving away from that premise altogether, aiming to disrupt something much more prosaic: the queue.

Tan said Snackpass asked its users what they would do if they weren’t using the app, and they said, “Oh, I just stand in line to order,” he told me in an interview.

“The market share right now is owned by people standing in line at the register, and placing their order. Our vision is that in five years that will no longer exist, like, there will be no more registers. We don’t think it makes any sense.”

He notes that for those who really want delivery, people can opt for that, too — Snackpass integrates with delivery services like UberEats to fulfill that — but 90% of the orders on Snackpass are pickup, meaning that not only does the company then not have to deal with its own fleets of delivery people, and the infrastructure of that, but the operating costs to provide that are also not there.

It turns out that actually a lot of young people seem happy to pop out to get something nice to eat. It means they get to socialise, and take a selfie with their food or drink (boba tea figures strongly) at the venue where it’s being bought. It becomes an experience.

It’s also where the market is in another sense.

“What people don’t realize is delivery is only 8% of the restaurant industry,” Tan told me. “And while it’s very much competed for by like big companies, and it’s a huge market, the restaurant industry, is like, much bigger, it’s $800 billion. And 90% of that purchasing is still offline,” he continued, referring to the many people who just queue up, order, buy, and leave. “It’s anonymous, and it’s on the verge of disruption. And we’re focused on that much bigger blue ocean.”

Its formula seems to be working with its target users. Tan said that the service has 80% penetration with students in the markets where it has launched. The average customer orders four and a half times a month, with some customers ordering every day. “You can actually see that it’s like, five to ten times more engagement than the delivery platforms, like UberEats.”

The company’s commissions vary and start at 7% and it’s current suite includes online ordering, self-service kiosks, digital menus, marketing services, and a customer referral program. It’s already profitable (in certain markets) but as it continues to grow (and maybe extend to other demographics) you can imagine it adding and expanding on all of these.

There is something about Snackpass that reminds me a lot of Snapchat, not just that the names have a similar ring to them, and not just that they both have resonated with college-aged users (and not just that they both squarely target them). It’s something of the whimsy of the app, and how it takes a light touch in its approach to do something that might otherwise feel cumbersome, or mundane, or what, basically, older people do.

Right now, there isn’t much of a social “user graph” per se on Snackpass, nor does it integrate particularly deeply with any specific social apps, but you could imagine a partnership there down the line, especially considering how companies like Snap and Facebook are now getting a whole lot more involved with commerce.

“In building a social experience around food through shared rewards, gifting, and a social activity feed, Snackpass has created a dynamic and attractive restaurant ordering system,” says Bryan Rosenblatt, partner, Craft Ventures, in a statement. “The growth of its marketplace and virality of the product coupled with Snackpass’ outstanding  team and vision, make it the ultimate solution for consumers and businesses alike. We are thrilled to help take Snackpass to the next level with this latest round of funding.”

Updated to clarify that Snackpass is profitable in some but not all markets; to correct the spelling and names of some of the investors; and to note that Snackpass currently does not work with DoorDash; and that 7x growth has been y-o-y, not over the last three months.



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