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Court Rules that Apple Must Allow Alternate In-App Payment Options, Paving the Way for New Monetization Options



The long-running Apple versus Epic Games legal saga may not have grabbed your attention, given the various technical complexities involved, and the stakes really only relating to major companies seemingly making more money from their efforts. But there is a critical consideration for general social media users within the case notes, which many could have missed – and that element saw a potentially big win today, depending on what Apple chooses to do next.

Today, District Court Judge Yvonne Gonzalez ruled that Apple is no longer allowed to prohibit developers from including external links that direct users to third-party payment platforms from their apps.

The actual terms of the ruling are as follows:

“Apple Inc., and its officers, agents, servants, employees and any person in active concert or participation with them (“Apple”), are hereby permanently restrained and enjoined from prohibiting developers from (i) including in their apps and their metadata buttons, external links and other calls to action that direct consumers to purchasing mechanisms, in addition to In-App purchasing and (ii) communicating with customers through points of contact obtained voluntarily from customers through account registration obtained within the app.”

In summary, iOS apps will now be allowed to direct users to alternative payment platforms, beyond Apple’s own App Store transaction process, which will also mean that companies will no longer be required to pay Apple’s oft-criticized fees on all in-app spending.

Which could be massive for the broader ‘creator economy’, and the push among social networks to provide more ways for users to generate income from their on-platform efforts.

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As an illustration of the current state, here’s a breakdown of Twitter’s ticketed Spaces payment flow on iOS devices right now:

  • Space ticket price = $5
  • 70c goes to Twitter (up to your first $50k in total earnings)
  • $1.50 goes to Apple (based on 30% cut of iOS purchases)
  • $2.80 goes to the creator

So even though you’re the host, and you’re doing all the work, Apple, based on the current App Store processes, takes a big chunk of your earnings – and this relates not only to ticketed Spaces, but also to Super Follows, newsletter subscriptions, Facebook Live Events, anything that happens in your apps where you look to charge users in-stream.

Now, there may be a way around this, which could facilitate a lot more revenue potential for creators within social apps, and make this new creator monetization push even more effective in fueling opportunities, and thereby maximizing usage of the various apps and functions.

Which, in turn, would also have a major impact on Apple’s revenue.

According to a recent report from Sensor Tower, the App Store generated $41.5 billion in revenue in the first half of 2021, a 22.1% increase year-on-year. Further, as per documents filed as part of the Apple vs. Epic case, gaming apps account for around 70% of App Store revenue, with the majority of that coming via in-app purchases.

Given that Apple could potentially lose such a big chunk of income, it’s inevitable that Apple will appeal the verdict, which means the legal case will drag on for some time yet. But as of right now, from December 9th, apps will be able to provide alternative payment options in iOS apps.

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It’s difficult to fathom the full, potential ramifications here.

On one hand, the basic summary is that creators and developers will now be able to make more money, but the flow-on impacts of such could be massive. On an overall basis, Android is the most popular operating system in the world, so in that sense, there would be no real change, but iOS sees particularly high usage in first-world economies, where people are more likely to be spending more in-app.

With this in mind, and again considering the huge income that Apple generates from in-app purchases, all of that revenue will now, potentially, be re-distributed into new streams, which could fund all new platform pushes, all new income options, and could change the motivations for creators, developers, etc.

Which could spark a cascade of major shifts. Again, Apple’s not going to let the ruling go unchallenged, so it seems very unlikely that the December 9th deadline will mean much beyond this on-paper ruling. But it’s a significant decision, and one which could, at the least, force Apple to re-think its processes, and change the game for digital creators and brands.

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5 Trends that will Dominate Influencer Marketing in 2022 [Infographic]



5 Trends that will Dominate Influencer Marketing in 2022 [Infographic]

Is influencer marketing part of your digital marketing strategy for 2022?

With the rise of more creative, more native-aligned platforms and spaces, brands are increasingly relying on influencers to connect with new audiences, while the growing use of AR and other new technologies also necessitates a familiarity with platforms that takes time and knowledge to maximize.

Influencers can be a great avenue in streamlining such process, but you have to know your audience, and what kinds of influencers they’re tuning into, in order to get the most out of your influencer marketing efforts.

To provide some more context on this, the team from SocialPubli has put together this overview of five key influencer marketing trends of note for 2022. And while these notes won’t address all of the info you need, they could help you formulate a better outreach strategy, based on the latest trends and shifts within the creator space.

Check out the full infographic listing below.

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Twitter Publishes New Industry Trend Reports Based on Rising Areas of Tweet Engagement



Twitter Publishes New Industry Trend Reports Based on Rising Areas of Tweet Engagement

Twitter has published a new range of industry reports, based on rising trends, in order to provide more context as to the key elements of focus among its userbase in each sector.

The new trend reports, which Twitter’s collectively calling its ‘Birdseye Report’, were compiled by Twitter data partners, including Hootsuite, Meltwater, Sprinklr and more. Each partner took on a specific element of expanded Twitter conversation, giving each discussion and industry dedicated focus, providing in-depth insight into the latest key shifts in the app.

You can download all the Birdseye Reports here, but in this post, we’ll look at some of the key highlights.

First off, the reports are based on a range of key tweet trends over the past year.

Those trends include:

  • Digital First – Digital Ethics, Cyber Individuality and Metaverse dominated the technology conversation on Twitter
  • The Crypto Craze – “Crypto” mentions on Twitter increased 549% in 2021
  • Future of Sports – Tweets around the metaverse + sports rose 6,024%
  • Bring the Sweets Back – Conversations around nostalgia for sweets, chocolate and candy grew 55% between January and October 2021
  • Mental Health Matters – Monthly “mental health” mentions from 2019 to 2021 on Twitter grew 44.7%

As you can see here, you can select the specific sector report you want to read, all of which are available via email sign-up – though you can select not to have Twitter or the providing company contact you as a result of your interest.

Each report covers the top trends in each sector, based on tweet discussion, which points to rising areas of opportunity and focus for your tweet marketing.

Twitter Birdseye Report

As you can see here, the reports include both broad trend results, like these, highlighting bigger shifts in each sector, as well as more specific tweet engagement shifts, relative to key focus elements.

Twitter Birdseye Report

Those insights could help to shape your marketing approach, while each report also includes a range of more in-depth pointers and data points to help guide your understanding of what the Twitter audiences is most interested in. 

Twitter Birdseye Report

There are also demographic insights: 

Twitter Birdseye Report

As well as summary points for each, helping to ensure marketers can make the most of each report:

Twitter Birdseye Report

There’s a heap of great insight here, and if you’re working in any of the highlighted sectors, and are looking to improve your Twitter approach, it’s definitely worth downloading the data and checking out the findings.

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Even if you’re not looking to improve your Twitter strategy, it’s likely worth getting access to the insights and seeing what people are most interested in for each segment.

You can download all the Twitter Birdseye reports here.

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92-year-old Malawian music legend finds fame on TikTok



92-year-old Malawian music legend finds fame on TikTok

Fame at 92: Malawian music legend Giddes Chalamanda has notched up millions of views on TikTok – Copyright AFP Bertha WANG

Jack McBrams

At 92, Giddes Chalamanda has no idea what TikTok is. He doesn’t even own a smartphone.

And yet the Malawian music legend has become a social media star, with his song “Linny Hoo” garnering over 80 million views on the video-sharing platform and spawning mashups and remixes from South Africa to the Philippines.

“They come and show me the videos on their phones, but I have no idea how it works,” Chalamanda told AFP at his home on the edge of a macadamia plantation, about 20 kilometres (12 miles) from Malawi’s main city Blantyre.

“But I love the fact that people are enjoying themselves and that my talent is getting the right attention,” he said, speaking in Chewa.

Despite his grey hair and slight stoop, the nonagenarian singer and guitarist, who has been a constant presence on the Malawian music scene for seven decades, displays a youthful exuberance as he sits chatting with a group of young fans.

He first recorded “Linny”, an ode to one of his daughters, in 2000.

But global acclaim only came two decades later when Patience Namadingo, a young gospel artist, teamed up with Chalamanda to record a reggae remix of “Linny” titled “Linny Hoo”.

The black-and-white video of the recording shows a smiling, gap-toothed Chalamanda, nattily dressed in a white shirt and V-neck sweater, jamming with Namadingo under a tree outside his home, with a group of neighbours looking on.

The video went viral after it was posted on YouTube, where it racked up more than 6.9 million views. Then late last year, it landed on TikTok and toured the globe.

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Chalamanda only learned of the song’s sensational social media popularity from his children and their friends.

Since then he and Namadingo have recorded remixes of several others of his best-known tracks.

His daughter Linny’s 16-year-old son Stepson Austin told AFP that he was proud of his grandfather’s longevity.

“It is good that he has lived long enough to see this day,” said the youngster, who himself aspires to become a hip-hop artist.

Born in Chiradzulu, a small town in southern Malawi, Chalamanda won fame in his homeland with lilting songs such as “Buffalo Soldier” in which he dreams of visiting America and “Napolo”.

Over the past decade, he has collaborated with several younger musicians and still performs across the country.

– ‘Dance around the world’ –

On TikTok, DJs and ordinary fans have created their own remixes as part of a #LinnyHooChallenge.

“When his music starts playing in a club or at a festival, everyone gets the urge to dance. That is how appealing it is,” musician and long-time collaborator Davis Njobvu told AFP.

“The fact that he has been there long enough to work with the young ones is special.”

South Africa-based music producer Joe Machingura attributed the global appeal of a song recorded in Chewa, one of Malawi’s most widely-spoken languages, to the sentiments underlying it.

“The old man sang with so much passion, it connects with whoever listens to it,” he said, adding: “It speaks to your soul.”

Chalamanda, a twice-married father of 14 children, only seven of whom, including Linny, are still alive, said he has no idea how to secure royalties for the TikTok plays.

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Chalamanda and his wife hope to benefit financially from his new-found stardom.

“I am just surprised that despite the popularity of the song, there is nothing for me,” he said. “While I am excited that I have made people dance all around the world, there should be some gain for me. I need the money.”

His manager Pemphero Mphande told AFP that he was looking into the issue and the Copyright Society of Malawi said it was ready to assist.

Arts curator Tammy Mbendera of the Festival Institute in Malawi credited platforms like TikTok with creating new opportunities for African talent.

“With songs from our past especially, they were written with such profoundness that they still can resonate today,” she said.

“All one has to do really, is get the chance to experience it, to acknowledge its significance. I think that’s what happened here.”

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