Two years ago, Apple killed the headphone port. I still haven’t forgiven them for it.
When Apple announced that the iPhone 7 would have no headphone port, I was pretty immediately annoyed. I figured maybe I’d get over it in a few months. I didn’t. I figured if worse came to worse, I’d switch platforms. Then all of the other manufacturers started following suit.
This, of course, isn’t a new annoyance for me. I’ve been hating headphone adapters on phones right here on this very website since two thousand and nine. For a little stretch there, though, I got my way.
It was a world full of dongles and crappy proprietary audio ports. Sony Ericsson had the FastPort. Nokia had the Pop-Port. Samsung had like 10 different ports that no one gave a shit about. No single phone maker had claimed the throne yet, so no one port had really become ubiquitous… but every manufacturer wanted their port to become the port. Even the phones that had a standardized audio jack mostly had the smaller 2.5mm port, requiring an adapter all the same.
Then came the original iPhone with its 3.5mm headphone port. It was a weird recessed 3.5mm port that didn’t work with most headphones, but it was a 3.5mm port! Apple was riding on the success of the iPod, and people were referring to this rumored device as the iPod Phone before it was even announced. How could something like that not have a headphone port?
Sales of the iPhone started to climb. A few million in 2007. Nearly 12 million in 2008. 20 million in 2009. A tide shifted. As Apple’s little slab of glass took over the smartphone world, other manufacturers tried to figure out what Apple was doing so right. The smartphone market, once filled with chunky, button-covered plastic beasts (this one slides! This one spins!), homogenized. Release by release, everything started looking more like the iPhone. A slab of glass. Premium materials. Minimal physical buttons. And, of course, a headphone port.
Within a couple years, a standard headphone port wasn’t just a nice selling point — it was mandatory. We’d entered a wonderful age of being able to use our wired headphones whenever we damn well pleased.
Then came September 7th, 2016, when Apple had the “courage” to announce it was ditching the 3.5mm jack (oh, and also by the way check out these new $150 wireless headphones!).
Apple wasn’t the first to ditch the headphone port — but, just as with its decision to include one, its decision to remove it has turned the tide. A few months after the portless iPhone 7 was announced, Xiaomi nixed the port on the Mi 6. Then Google ditched it from its flagship Android phone, the Pixel 3. Even Samsung, which lampooned Apple for the decision, seems to be tinkering with the idea of dropping it. Though leaks suggest the upcoming Galaxy S10 will have a headphone port, the company pulled it from the mid-range A8 line earlier this year. If 2016 was the year Apple took a stab at the headphone jack, 2018 was the year it bled out.
And I’m still mad about it.
Technology comes and goes, and oh-so-often at Apple’s doing. Ditching the CD drive in laptops? That’s okay — CDs were doomed, and they were pretty awful to begin with. Killing Flash? Flash sucked. Switching one type of USB port for another? Fine, I suppose. The new USB is better in just about every way. At the very least, I won’t try to plug it in upside down only to flip it over and realize I had it right the first time.
But the headphone jack? It was fine. It stood the test of time for one hundred damned years, and with good reason: It. Just. Worked.
I’ve been trying to figure out why the removal of the headphone port bugs me more than other ports that have been unceremoniously killed off, and I think it’s because the headphone port almost always only made me happy. Using the headphone port meant listening to my favorite album, or using a free minute to catch the latest episode of a show, or passing an earbud to a friend to share some new tune. It enabled happy moments and never got in the way.
Now every time I want to use my headphones, I just find myself annoyed.
Bluetooth? Whoops, forgot to charge them. Or whoops, they’re trying to pair with my laptop even though my laptop is turned off and in my backpack.
Dongle? Whoops, left it on my other pair of headphones at work. Or whoops, it fell off somewhere, and now I’ve got to go buy another one.
I’ll just buy a bunch of dongles, and put them on all my headphones! I’ll keep extras in my bag for when I need to borrow a pair of headphones. That’s just like five dongles at this point, problem solved! Oh, wait: now I want to listen to music while I fall asleep, but also charge my phone so it’s not dead in the morning. That’s a different, more expensive splitter dongle (many of which, I’ve found, are poorly made garbage).
None of these are that big of a deal. Charge your damned headphones, Greg. Stop losing your dongles. The thing is: they took a thing that just worked and just made me happy and replaced it with something that, quite often, just bugs the hell out of me. If a friend sent me a YouTube link and I wanted to watch it without bugging everyone around me, I could just use whatever crappy, worn out headphones I happened to have sitting in my bag. Now it’s a process with a bunch of potential points of failure.
“But now its water-resistant!” Water-resistant phones existed before all of this, plenty of which had/have headphone ports. As a recent example, see Samsung’s Galaxy S9 with its IP68 rating (matching that of the iPhone XS).
“But it can be slimmer!” No one was asking for that.
“But the batteries inside can be bigger!” The capacity of the battery barely jumped in the years from the 6S to the 8 — from 1,715mAh to 1,821mAh. It wasn’t until a few years later with the iPhone X, when the standard iPhone started getting wider and taller, that we saw super big jumps in its battery capacity.
Will this post change anything? Of course not. Apple blew the horn that told the industry it’s okay to drop the headphone port, and everyone fell right in line. The next year — and the year after that — Apple sold another 200 million-plus phones. At this point, Apple doesn’t even bother giving you the headphone adapter in the box. Apple’s mind is made up.
But if you’re out there, annoyed, stumbling across this post after finding yourself with a pair of headphones and a smartphone that won’t play friendly together in a pinch, just know: you’re not the only one. Two years later, I’m still mad at whoever made this call — and everyone else in the industry who followed suit.
Feels is a new dating app with profiles that look more personal – TechCrunch
Meet Feels, a new French startup that wants to change how dating apps work. According to the company, scrolling through photos and reading descriptions tend to be a boring experience. Feels want to improve profiles so that navigating the app feels more like watching TikTok videos or browsing stories.
“For the past 10 years, there’s been little innovation in the industry,” co-founder and CEO Daniel Cheaib told me. “The reason why many people uninstall dating apps is that it’s boring. Profiles all look the same and we feel like we’re browsing a catalog.”
In that case, Cheaib is thinking about Tinder, but also other dating apps that feel like Tinder but aren’t exactly Tinder, such as Bumble, Happn, etc.
Feels’ founding team has spent two years iterating on the app to find out what works and what doesn’t. Now that retention metrics are where they’re supposed to be, the company is now ready to launch more widely.
If you want to show interesting content to your users in a dating app, you have to rethink profiles. Arguably, this has been the most difficult part of the development phase. When you install the app, it takes around 15 minutes to create your profile.
At first, only 30% of new users finished the onboarding process. Now, around 75% of new users reach the end of the signup flow.
So what makes a profile on Feels different? In many ways, a profile looks more like a story, or TikTok posts. Users can record videos, add text and stickers, share photos, answer questions and more.
“When you’re done with the onboarding process, you have consistent profiles with people sharing content about them,” Cheaib said.
Like other dating apps, there are many options when it comes to gender identity — you’re not limited to woman or man. You can then say that you want to see all profiles or just some profiles based on various criteria.
After that, you can look at other profiles. Once again, Feels tries to change the basic interaction of dating apps. Most dating apps require you to swipe left or right, or give a thumbs up or a thumbs down. When you think about it, it’s a binary choice that requires a ton of micro decisions.
Sometimes, you don’t have any strong feelings about someone. Or maybe you just want to go to the next profile. And the fact that you have to triage profiles like this leads to a lot negativity, whether it’s conscious or subconscious — you keep rejecting people, after all.
When you’re looking at a profile on Feels, it fills up your entire screen. Videos start playing, you can see what the person likes and who they are in front of a camera. You can react on some content or you can simply move on by swiping up. There’s no heart or like button.
When the startup thought they finally were going somewhere, they raised a $1.3 million funding round (€1.1 million) from a long list of business angels, such as somebody in Atomico’s business angel program, Blaise Matuidi, Eric Besson, René Ricol, Ricardo Pereira , Yohan Benalouane, Nampalys Mendy, Jean Romain Lhomme, Julien Radic and Jean Michel Chami.
Now, Feels plans to attract new users with organic TikTok posts, some TV ads and more. The company wants to reach one million users by the end of the year with a big focus on France for now. There are 100,000 users right now.
When it comes to monetization, Feels started offering a premium subscription to unlock more features. The company is still iterating on that part.
Feels is just getting started in a crowded and competitive industry. Unlike other companies, Feels has invested heavily in its own product before working on user acquisition and paid installs. It’s an ambitious strategy but it has a lot of potential as it could lead to a truly different dating app.
Social audio startup Stationhead looks beyond music as it hits 100K monthly active users – TechCrunch
When I’ve written about Stationhead in the past, I’ve focused on how the startup aims to recapture bring personality and interactivity of a live radio broadcast to streaming music. But CEO Ryan Star said his ambitions are broader now: “We’re going to be the largest social audio platform in the world.”
The startup says it’s growing quickly, with 100,000 monthly active users — a number that’s growing by 65% each month — and 500,000 total users. There are 6,300 hosts on the platform, and they created nearly 2 million live and recorded streams in the first three months of the year.
COO Murray Levison told me that the pandemic has brought more artists to the platform as they look for new ways to reach their fans. For example, Cardi B joined the fan show Bardigangradio last month, prompting 132,000 paid streams of her new single on Apple Music and Spotify during the broadcast. (Stationhead integrates with both music streaming services — when a DJ cues up a song, it’s actually playing through your account.)
At the same time, both Star (who co-founded the company due to his own frustrations as an independent musician) and Levison suggested that playing music is not quite as central to their vision as it used to be. Instead, they said Stationhead is all about live audio broadcasting, with or without music.
From a product perspective, Levison said they’re trying to build “the best broadcasting tools for creators and everybody people to use.” At the same time, he added, “Music is still at the core of what we’ve built. Just like games are to Twitch, music is our social glue.”
While the company emphasizes the live experience (which Levison described as “the core value prop”), Stationhead also supports recording shows for listening later, and apparently 50% of users are listening to both live and recorded shows. It has also been beta testing a tipping feature that will allow broadcasters to monetize their shows.
Of course, you can’t talk about social audio without talking about Clubhouse, which was attracting 2 million active users each week in January, according to CEO Paul Davison. Levison suggested that the buzz around Clubhouse has also benefited Stationhead as potential acquirers and investors get more excited about social audio. And Star argued that the companies are taking very different approaches.
“It’s in the name Clubhouse, it’s exclusive,” Star said. “It’s about social climbing and getting closer to the stage. [Stationhead is] living in the world where Cardi B was excited to meet her fans. We are for the 99 percent.”
TikTok funds first episodic public health series ‘VIRAL’ from NowThis – TechCrunch
TikTok is taking another step towards directly funding publishers’ content with today’s announcement that it’s financially backing the production of media publisher NowThis’ new series, “VIRAL,” which will feature interviews with public health experts and a live Q&A session focused on answering questions about the pandemic. The partnership represents TikTok’s first-ever funding of an episodic series from a publisher, though TikTok has previously funded creator content.
Through TikTok’s Instructive Accelerator Program, which was formerly known as the Creative Learning Fund, other TikTok publishers have received grants and hands-on support from TikTok so they could produce quality instructive content for TikTok’s #LearnOnTikTok initiative. The program today is structured as four, eight-week cycles during which time publishers post videos four times per week.
NowThis had also participated in the Creative Learning Fund last year and was selected for the latest cycle of the Instructive Accelerator Program. But its “VIRAL” series is separate from these efforts.
NowThis says it brought the concept for the show to TikTok earlier this year outside of the accelerator program, and TikTok greenlit it. TikTok then co-produced the series and provided some funding. Neither NowThis nor TikTok would comment on the extent of the financial backing involved, however.
The “VIRAL” series itself is hosted by infectious disease clinical researcher Laurel Bristow, who spent the last year working on COVID treatments and research. Every Thursday, Bristow will break down COVID facts in easy-to-understand language, NowThis says, including things like vaccine efficacy, transmission timelines, and treatment. The show will also bust COVID myths, provide information about ongoing public health risks, and feature interviews with a cross-section of experts.
Each episode of the will be 45 minutes in length and will also include an interactive segment where the TikTok viewing audience will be able to engage in a real-time Q&A session about the show’s content. In total, five episodes are being produced, and will air starting on Thursday April 15 at 6 PM ET and will run through Thursday May 13 on the @NowThis main TikTok page.
@nowthisTune in to our new TikTok live show VIRAL on Thursdays at 6pm ET with host @kinggutterbaby
♬ original sound – nowthis
NowThis has become one of the most-followed news media accounts on TikTok, with 4.6 million followers across its news and politics channels, since launching a little over a year ago. Because of its focus on video, it’s been a good fit for the TikTok’s platform.
The approach TikTok is taking with “VIRAL’s” production, it’s worth noting, stands in contrast to how other social media platforms are handling the pandemic and COVID-19 information. While most, including TikTok, have pledged to fact check COVID-19 information, remove misinformation and conspiracies, point users to official sources for health information, and provide other resources, TikTok is directly funding public health content featuring scientists and researchers, and then promoting it on its network.
The company explained to TechCrunch its thinking on the matter.
“As the pandemic continues to evolve, we think it’s important to provide our community an outlet to dispel misinformation and communicate with public health experts in real-time,” said Robbie Levin, Manager of Media Partnerships at TikTok. “NowThis has consistently been a great partner that produces engaging and informative content, so we felt this series would be an impactful and important avenue for our users to receive credible information on our platform,” Levin noted.
While the pandemic has driven the topic of choice here, paying creators for content is not new. And TikTok isn’t the only one to do so. Instagram and Snapchat are both funding creator content for their TikTok clones, Reels and Spotlight, respectively. And new social platforms like Clubhouse are funding creators’ shows, as well.
TikTok says it’s not currently talking to other publishers to produce more series like “VIRAL,” but it isn’t ruling out the idea of expanding its creator funding and producing efforts. In addition to its accelerator program, which is continuing, TikTok says if “VIRAL” proves successful and the community responds positively, it will pursue similar opportunities in the future.
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