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By Rick Munarriz

Snapchat’s parent company is moving into soft-scripted documentary shows featuring a YouTube star — a recipe that hasn’t worked for Google before.

Snap Inc. (NYSE:SNAP) continues to go Hollywood. Snapchat’s parent company is dipping its feet into the soft-scripted docu-series niche, according to Variety. The move will expand its push into original programming to drive user engagement.

Endless Summer will star teen model Summer Mckeen, a beauty and fashion vlogger that has built up a huge following on Alphabet (NASDAQ:GOOG) (NASDAQ:GOOGL) subsidiary Google’s YouTube. Mckeen now has more than 1.4 million subscribers to her YouTube channel. Hitching one’s post to a young YouTuber on the rise seems like a no-brainer. The built-in audience is there, and the salary demands are modest relative to actual movie and TV celebrities. However, Google itself has stumbled in plucking its most magnetic YouTube stars in its own push for original content. Snap is hoping to avoid failing as well.

Snapchat's live video chat feature in action.

Image source: Snap, Inc.

Seasons change

Endless Summer will follow the 19-year-old model and budding entrepreneur as she moves out of her home to live on her own in Laguna Beach. The show is currently in production. It is expected to debut in September.

This won’t be a one-time thing. Snap has other docu-series shows in development. Endless Summer just happens to be the first entry in this niche. Snapchat has had some initial success by turning to cable networks and other established media companies for the Snapchat Discover platform, but that content traffic took a hit earlier this year with the site’s controversial redesign.

Banking too heavily on a YouTuber isn’t a guarantee for success, a lesson that Alphabet has painfully learned with Google’s YouTube push to go premium. YouTube Red — recently rebranded as YouTube Premium — hoped to get its freeloaders to pay up for its subscription-based service by casting popular YouTube personalities in studio-produced scripted and reality shows. It didn’t work. The same stars that had amassed tens of millions of YouTube subscribers weren’t enough to sway people over to the other side of the paywall.

A couple of those original YouTube Red stars would also go on to get into hot water for comments and actions in some of their videos, hurting YouTube’s credibility in tapping marketable stars. Instead of trying to bring more creators into the fold, YouTube alienated the community by doubling down on its biggest stars in February by dismissing smaller contributors from its monetization platform. The purge continues, as many new creators applying for monetization on YouTube have been waiting for months since registering for the perk. Even many of those cut loose in February — told that their readmission to the program would be automatically reviewed within a week or two of meeting the minimum requirements for monetization — continue to be left out in the cold. I should know. I’m on my fifth week.

Snap should still make this work. An important distinction between Snapchat Discover and YouTube Premium is that Snapchat’s platform for professionally produced content remains a free ad-supported offering. Folks that didn’t want to pay up for YouTube Red (and now YouTube Premium) will not have to worry about that particular tollbooth here. YouTube may have had the data on the stars it would go on to cast, but Snap is the one that has the right price in the eyes of its young penny-pinching viewers.

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By Rick Munarriz

Sourced from The Motley Fool

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Microsoft in the past week updated its Edge browsers for Android and iOS, adding a built-in web advertisement blocker – a first for the Redmond, Wash. company.

The browser, Windows 10’s default but since October available on the two mobile operating systems, was refreshed June 19 and 21 for Android and iOS, respectively, with technology based on eye/o GmbH’s Adblock Plus, one of the world’s most widely-used ad blockers.

Eye/o spokesman Ben Williams confirmed that a partnership deal between the two companies had been reached, but he declined to comment further or answer questions about the financial terms. “The real beneficiaries here are users, who now have more options to customize and improve their online experience on the go,” Williams said in an email.

The in-Edge ad-blocker is disabled by default in both the Android and iOS versions, requiring the user to manually switch it on. In both, the setting is accessible from Settings/Content blockers once within the browser.

“You’ll see acceptable ads. Change this any time in Settings,” reads text displayed in the iOS edition of Edge once Adblock Plus has been engaged.

This is the first time Microsoft has added a web ad blocker to any of its browsers, although Adblock Plus – and a multitude of rivals – have been available for years as browser add-ons for Internet Explorer as well as Edge.

Microsoft declined to answer questions about the partnership and, when asked whether it plans something similar for Windows 10’s browser, would only say that an Adblocker Plus extension is available for that version.

The move puts Microsoft in the same category as Google’s Chrome and Mozilla’s Firefox, two others of the Big Four browsers with ad-blocking technology already baked in or planned for this year. Google introduced a form of ad blocking in Chrome earlier this year – an effort that purports to scrub the most annoying ads – and Mozilla has laid out a timetable for its own stab at deleting ads that will reach users in September or October.

Notably, Microsoft didn’t broadcast the news that it had integrated Adblock Plus with Edge on Android and iOS. That was decidedly different than the tack that Google took with Chrome; it made sure users – as well as site publishers – knew that ad filtering was coming, talking it up for a year prior to actual launch.

In the past, Microsoft has been hesitant to weigh in on one side or another when browser controversies have developed, perhaps remembering antitrust actions in the U.S. and European Union that originated in complaints about its integration of browser and operating system. For example, when the Do Not Track (DNT) privacy movement got rolling, Microsoft was initially adamant about automatically enabling DNT as it was developing Internet Explorer 10 (IE10) in 2012. Later, Microsoft backed away after ad industry lobbying groups yowled, calling the DNT move “unacceptable” and arguing that IE’s setting would “harm consumers, hurt competition, and undermine American innovation.”

At the time, IE accounted for more than half of the global browser share.

But Edge, whether on the desktop or on a mobile device, is no IE. According to analytics vendor Net Applications, Edge is the preferred browser on fewer than one out of every eight Windows 10 PCs. On mobile, Edge’s user share was an anemic eight-tenths of one percent last month.

In lieu of a mobile browser of its own – Microsoft forfeited that market when it surrendered to reality and gave up on putting Windows on smartphones – the firm used the guts of Chrome (the Blink rendering engine) to build its Android Edge, and the foundation of Apple’s Safari (the WebKit engine) to craft the iOS version. The company has pitched these Edges as companions to Edge on Windows 10, especially to flesh out a feature dubbed “Continue on PC” in the desktop OS.

Edge for Android can be downloaded from Google Play; Edge for iOS can be downloaded from the App Store.

adblocker in edge android Microsoft
Disabled by default, the baked-in Adblocker Plus can be switched on from Settings/Content blockers in Android (shown here) and iOS.

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Sourced from COMPUTERWORLD

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  • “The world needs advertising more than ever. We just need to make it more relevant,” says AT&T Advertising and Analytics CEO Brian Lesser.
  • “Subscription video on demand is a great service” but won’t be able to fund “all the content that’s being produced,” Lesser says.
  • He dodges questions about a Wall Street Journal report that AT&T is in talks to buy ad tech firm AppNexus.
AT&T’s Brian Lesser on the future of advertising  

AT&T’s Brian Lesser on the future of advertising from CNBC.

The newly combined AT&T-Time Warner is looking to reinvent advertising — but to do so, it needs to buy more technology, AT&T Advertising and Analytics CEO Brian Lesser told CNBC on Wednesday.

Lesser, who spoke on “Squawk Box” from the Cannes Lions advertising and marketing festival in France, dodged questions about a Wall Street Journal report that AT&T is in talks to buy ad tech firm AppNexus in what could be a $1.6 billion deal.

AppNexus is backed by WPP, where Lesser used to work as CEO of the ad giant’s GroupM media unit. Lesser is also a former AppNexus board member.

“There’s lots of rumors that come up at Cannes,” said Lesser, though he did say “we need more tech” in order to build AT&T’s $2 billion ad business “into something more significant.”

Lesser echoed what AT&T Chairman and CEO Randall Stephenson told CNBC on Friday, a day after closing the $85.4 billion Time Warner acquisition. Stephenson said the company expects in coming weeks to make smaller acquisitions to enable its ad platform goals.

“The world needs advertising more than ever. We just need to make it more relevant and make matter for consumers,” Lesser said. “Everybody still hates advertising when it interrupts the content. It’s our job to reduce the load on consumers, make it a better experience.”

Lesser described technology that AT&T has to keep viewers more engaged. “Imagine you’re watching content [on TV] and instead of interrupting … with a traditional commercial break we can show an icon on the screen that indicates to you that there might be a mixed-reality experience [on mobile] where you can get more information about the car you just saw or the dress you just saw.”

Taking ads completely out of the picture with a Netflix-type paid subscription model is not sustainable, Lesser said. “Subscription video on demand is a great service and consumers love it. But you can’t possibly pay for all the content that’s being produced now through a subscription.”

Hulu offers a hybrid paid model, one subscription tier that’s completely ad-free and a less expensive tier with “limited commercials.”

Amazon, the other streaming juggernaut, offers its video and music services free to subscribers of Prime, which includes free, faster deliveries for purchases on the e-commerce side.

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Sourced from CNBC

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Plus Messenger’s autoplay video ads, Pinterest’s shopping ambitions and more news from Cannes Lions.

Greetings from Cannes Lions, the annual advertising boondoggle in the South of France where the ad industry gathers to wheel and deal, take advantage of lavish expense reports, and where drinking rosé is acceptable at any time of the day.

Many of the digital media industry’s largest advertising platforms — Facebook, YouTube and Twitter, to name a few — spend the week in Cannes in luxurious beachside cabanas, trying to lock down advertising deals for the back half of the year. But a lot of the hubbub is tailored around social events, like beach parties and fancy dinners at nearby hotels. As one ad tech executive put it to me Monday night, “there’s a fine line between networking and not working.” It’s sometimes tough to tell who’s doing what.

But real business does get done in Cannes [Ed. note: Kurt, you’re protesting too much]. Many companies see it as a mid-year check-in where they can talk to partners about plans for the second half of the year. (Vegas’ CES, held in January each year, is the early-year equivalent to Cannes Lions.)

Here’s what I’m hearing:

Instagram is preparing to launch longform video

Whoops! Scratch thatI This week’s most intriguing product announcement isn’t actually happening in Cannes — it’s happening at Instagram’s new San Francisco office, though media companies here are certainly taking notice and Instagram plans to stream it live to reporters here on the ground. (Another big ad story that people are talking about at Cannes, even though it’s not happening at Cannes: AT&T’s plan to acquire ad tech company AppNexus for $1.6 billion.)

The Facebook-owned app has a press event scheduled for 9 am PT Wednesday morning, and multiple sources say the company is planning to unveil a longform video feature, which would let people share videos up to an hour in length. The last time Instagram did a big press event like this was in 2013 when it unveiled Direct, its private messaging service. This doesn’t happen often.

The longer videos will reside in their own section of the app, these sources say, but it’s unclear if Instagram is going after the kind of original programming that Snapchat offers inside its Discover section. Instead, it seems Instagram is simply hoping that brands and advertisers will see the new section as an alternative to YouTube (and even Facebook) for posting longform shows and videos. Eventually, we imagine Instagram will try and monetize these longer videos with mid-roll or pre-roll ads, similar to what the company is doing now inside Facebook Watch.

We’ll know soon what the product looks like, but one possible benefit of Instagram’s new feature might be its openness. Snapchat Discover has always been exclusive, only available to certain media partners or big-time celebrities. It sounds as though Instagram’s product will be available to everyone, giving more people an opportunity to participate. Then again, there are obvious cons to letting more people participate. Ask YouTube.

The bigger question, though, is whether or not people actually want to watch longer video inside Instagram. One media executive I spoke with in Cannes on Tuesday likened it to McDonald’s selling a salad. That might work for some people, but, “It’s still not a burger.”

Messenger is running autoplay video ads

Facebook’s Messenger service started rolling out autoplay video ads this week, meaning you might soon see a video in your inbox alongside messages from friends and family. The messaging inbox is typically a personal space, and it’s unclear how the addition of video ads will go over with users.

“Top priority for us is user experience,” Stefanos Loukakos, who runs Messenger’s ad business, told me from a beachside cabana. “So we don’t know yet [if these will work]. However, signs until now, when we tested basic ads, didn’t show any changes with how people used the platform or how many messages they send.”

“Video might be a bit different, but we don’t believe so.”

Pinterest wants people shopping more on its service, and is hiring like crazy

Pinterest is in Cannes for the fourth straight year, and rented a nice pier on the beach that the company is using for meetings. A few takeaways from our sit-down interview with Jon Kaplan, the company’s global head of sales:

  • Pinterest wants more people shopping on Pinterest. To do that, Kaplan says the company needs more “shoppable pins,” or photos and videos that identify the products you see in them, and give you a chance to click and buy that product right there. Right now, a “single-digit” percentage of pins on the service are shoppable, Kaplan says. He wouldn’t share a hard goal, but says there are some categories Pinterest plans to focus on. “Home and fashion will be the two big focus areas for us to start,” he said. “We have aspirations for that to be completely shoppable in those categories.”
  • Pinterest is boosting its sales team. Kaplan said the company plans to grow the sales team, which was at “several hundreds” at the beginning of the year, by more than 50 percent.
  • Pinterest is finally starting to sell ads in non-English-speaking countries for the first time. The company started testing ads in France on Monday, and Kaplan says Germany is next on the list. All businesses would love to add more revenue, but Pinterest in particular. Last year, the company missed internal revenue targets, but many believe Pinterest is on an IPO track, anyway. More revenue streams should help with the process.

Snapchat and Instagram have dueling story exhibits

Both Snapchat and Instagram are showing off art installations at Cannes, and both companies are making user Stories a big part of the exhibit.

Snapchat’s exhibit is called Sound Stories, and the company worked with an artist named Christian Marclay who watched thousands of public user stories to find audio clips he then turned into art. In one section of the exhibit, Cannes attendees could play a piano where the keys correspond to sounds pulled from actual user Stories.

Instagram’s exhibit, which was created by artist Es Devlin, was less interactive, but flashier. Attendees could watch a three-minute video that showed the importance of storytelling over time, with some clips from users’ stories littered in. The show ends with the line: “Can one story change history? Does any story really vanish once it’s been told?”

The exhibits were interesting, but even more interesting was that Stories was the format of choice for companies. It’s clear that Stories are not just growing in popularity among users, but they’re growing in importance for these business, too.

Is Cannes Lions shrinking?

Cannes feels less crowded than years past, and attendees are noticing. The obvious explanation is that some major ad agencies, like Publicis, sat out of this year’s conference. We’ve asked Cannes representatives for attendance figures and will update if we hear back, but those figures may not tell the whole story. Many people come to the conference but don’t actually register — a badge isn’t needed to hold meetings or get into nearby hotels where much of the action takes place.

Feature Image Credit: Instagram CEO Kevin Systrom and Facebook CEO Mark ZuckerbergFacebook / Mark Zuckerberg

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Sourced from recode

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For Snap Inc., hype matters. And for Wall Street analysts, as users go, so goes the hype.

Snap has fallen 8.1 percent over the past two trading days, the worst performer in the S&P Software & Services Select Industry Index over the period. That’s come as analysts at Needham and Cowen sharply cut their outlooks for Snap, which has struggled to maintain user and advertising growth amid a battle for market share with Facebook Inc., which has repeatedly mimicked Snapchat’s app features.

Snap fell to $12.91 per share as of 1:36 p.m. in New York, down from its $14.05 closing price on Monday.

The slide began after disappointing user and advertising revenue growth led Cowen Inc. analyst John Blackledge to cut his revenue forecasts for the Los Angeles-based social network for the next six years. Blackledge, who rates Snap the equivalent of a sell, said that a Cowen survey suggested that users were spending less time on the app.

The drop continued Wednesday after Needham & Co. analyst Laura Martin cut her forecast for Snap’s second quarter revenue by 15 percent, writing in a note to clients that her research showed a “dramatic slowdown of spending by brands on Snap.” Martin, who also rates the company the equivalent of a sell, said that big events in the first quarter, including the Grammy Awards, the Super Bowl and the NCAA finals, led to spending that won’t be repeated in the second.

The two-day move mirrors a 6.1 percent decline in February, when Snap plummeted after social media star Kylie Jenner tweeted that she hadn’t been using the app, partially due to an app redesign. Shares have been depressed since May after the company’s first quarter sales fell short of expectations, casting doubt on its long-term growth prospects.

The recent bearish calls by analysts add to a growing chorus surrounding Snap. The average price target among analysts has fallen 25 percent since late April, while only 6 of 34 analysts now rate the stock a buy, according to data compiled by Bloomberg. Short-sellers are active, too, with 22.7 percent of the float sold short, up from 17.3 percent in early May, according to data from S3 Partners.

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Sourced from Bloomberg

By Sarah Perez

YouTube hopes a new set of creative tools will help it win back advertisers who may have grown disenchanted with the video network due to its ongoing content scandals. The company announced this morning a suite of tools that will allow brands and agencies to test ads, target specific audiences with customized versions of the same ad, and tell stories over a series of ads.

One new tool, Video Experiments, offers AdWords advertisers a way to test video ads on YouTube’s site, as an alternative to using focus groups to determine the impact of creative on metrics brands care about like awareness or purchase intent.

The service, which launches in beta later this month, will allow marketers to shift funds usually put towards those focus groups and their “simulated ad environments,” to real ad environments.

The ads will run in cleanly segmented experiments on YouTube at no extra cost beyond the media investment, the company says, and turn around results in as little as three days’ time.

The idea here is to allow brands to test their video ad campaigns before committing the funds to roll them out more broadly – something that could help them to tweak the creative material, or even pull back on an ad rollout that could have ended up being a total misfire that draws consumer backlash.

That’s a critical factor to consider in today’s social media landscape, where one bad ad can spread virally beyond just those who directly watched it, leading to negative consumer sentiment and even brand boycotts.

Another new tool, Director Mix, was already announced last year, and is now being tested by brands like Kellogg’s in an alpha phase, ahead of its general availability.

This tool lets advertisers create many versions of their same ad using swappable elements. They can customize the text, while using the existing images, sound and videos across a variety of ads. These ads can be far more personalized to YouTube viewers, as a result.

For example, in a test with Campbell’s Soup, bumper ads appeared for those watching “Orange is the New Black” clips that said “does your cooking make prison food seem good? We’ve got a soup for that.” But the same ad customized for Beyoncé’s “Single Ladies” instead included the line “Dinner for One?”

McDonald’s had also used Director Mix in the past to create 77 pieces of content from one ad.

Related to this, a tool for Video Ad Sequencing, also in alpha, lets brands spread their story over a series of ads. The idea here is that YouTube viewers could actually follow along with a narrative of sorts, or just see a longer story told over several ads.

Ubisoft tested this to promote “Assassin’s Creed Origins,” which showed several different elements of the game’s trailer over different ads. 20th Century Fox is also now using this tool, along with experimentation.

YouTube didn’t offer an update as to when Director Mix or sequencing were exiting alpha or launching more broadly, however.

In terms of better understanding how ads are working with different groups of viewers, YouTube says it’s adding audience segmentation to retention reports. Later this year, it will also allow advertisers to annotate different parts of their video – for example, the part where the brand’s logo displays or a shot of the product – so they can then see what percentage of the audience saw those key moments.

Combined, this set of tools aim to give video advertisers a reason to continue spending on YouTube at a time when brands may have become hesitant to invest due to YouTube’s inability to properly police the billions of hours of content on its site.

While that’s clearly a hard problem to solve at YouTube’s scale, the fallout has been seriously damaging. Brands have found their ads displaying against extremist content, white nationalist channels, and other obscenities. And some even suspended advertising on YouTube entirely, at times.

Meanwhile, YouTube is facing increasing threats from Facebook, which has rolled out a video hub called Watch. Facebook is directly investing in video from news publishers, and has just launched a creative game show platform to capitalize on the interactive video craze. Facebook-owned Instagram, too, is preparing to roll out longer-form video in a new hub on its network, as soon as today.

Despite Facebook’s threat, YouTube is still a massive network for advertisers to consider with its 1.9 billion monthly users, and a shift in how people – particularly younger users – watch video content. A generation of viewers is growing up without linear TV, and is instead during to video networks and streaming services for entertainment.

Though some of YouTube’s tools have already been in testing, YouTube is today positioning the combination of resources as its “Creative Suite” with this more formal introduction.

By Sarah Perez

Sourced from TechCrunch

By Shareen Pathak

The influencer backlash has washed up on French shores.

The early days of the Cannes Lions festival saw some strong words against so-called influencers and influencer marketing from top chief marketing officers.

It began with Unilever CMO Keith Weed, who announced early Monday that the advertiser will not work with influencers who buy followers, and its brands will actively look to eradicate from its spend any influencers with fake followers, bots or any other fraudulent practices.

Weed also said Unilever would also prioritize vendor relationships where commitments were made to eradicate fraud.

Weed is also convening a meeting with the World Federation of Advertisers, Instagram and Edelman chief executive Richard Edelman to work on a project on bringing transparency to the influencer space.

“In February, I said we needed to rebuild trust back into our digital ecosystems and wider society,” Weed said. “One of the ways we can do that is to increase integrity and transparency in the influencer space. We need to address this through responsible content, responsible platforms and responsible infrastructure.”

Dan Salzman, the global head of media at HP, said he agreed in principle with Weed. HP works with influencers for its gaming business, and Salzman said the influencer backlash was inevitable. “Each category of marketing is going through a reckoning,” he said. “Three years ago, influencer marketing was growing in scale. Now, people are looking at it critically. It’s a natural shaking out.”

It’s also a shakeout that’s right on trend in a year where a reckoning seems to be the theme. Top marketers are pushing back on platform power, and questioning where their money is spent is en vogue as they look to wrest back control from platforms as well as agencies.

Speaking at The Economist’s “Wake Up with The Economist” session on Monday morning at the Cannes Lions Beach, eBay CMO Godert van Dedem said he will try “shift his influencer spend” toward eBay sellers — who he said are a bigger priority and more authentic for the eBay brand. “What I want us to do is give our sellers a voice, rather than influencers who happen to have a following that we use and pay for a post,” he said.

Samsung CMO Marc Mathieu, who recently worked with YouTuber Casey Neistat, said he did so for Newton’s “creativity,” not his influence. “I’d rather not just use influencers, but the people that use our products be the people we market,” said Mathieu. And Diageo CMO Syl Saller said that while the company works with celebrities, it is looking more critically at any influencer relationships that engage in shady practices like buying followers.

Influencer marketing, which seemingly burst on the scene a few years ago as Instagram — the preferred platform for so-called social stars — gained popularity, is attractive to marketers because it feels arguably more real than advertising. But authenticity can be faked: Anti-fraud company Sway Ops found that a single day’s worth of posts tagged #sponsored or #ad on Instagram contained over 50 percent fake engagements. Out of 118,007 comments studied by Sway Ops, only 20,942 were not made by bot followers.

It’s ironic that this backlash comes the same year that the Cannes Lions festival itself has announced for the first time the Social and Influencer Lions, a category meant to, in the organizers’ words, “celebrate creative social thinking.” The idea is to focus on reach and engagement. The jury, which is expected to announce a short list and winners Wednesday, will see if the campaign had any impact.

By Shareen Pathak

Sourced from DIGIDAY

By Katie Canales

  • Glassdoor’s annual 100 Highest-Rated CEOs report reveals both Apple’s Tim Cook and Google’s Sundar Pichai dropped heavily in the rankings, which are determined by anonymous employee feedback.
  • Cook, in particular ,dropped 43 spots from his place in last year’s report, distinguishing himself as the tech CEO with the biggest dip in rankings.
  • A Glassdoor spokesperson told Business Insider that employees cited Apple’s culture of secrecy and high stress for Cook’s drop…
  • …and Google’s growing corporate and bureaucratic work culture as the reasons behind the negative feedback for Pichai. 

The past year hasn’t been smooth sailing for the tech industry.

On Tuesday, Glassdoor released its annual 100 Highest Rated CEOs report, showing that CEO Mark Zuckerberg dropped six spots in the rankings. It’s not particularly surprising, given Facebook’s scandalous year — but Zuck still got off early compared with some of his tech CEO peers.

The report, which aggregates anonymous and voluntary employee reviews, shows Apple CEO Tim Cook dropped 43 spots to 96th place, landing him as this year’s tech CEO with the biggest decrease in rankings. And Google’s Sundar Pichai is almost in the same boat, having dropped 28 spots to number 45 from last year’s 17th place.

So why the drop?

According to a Glassdoor spokesperson, Apple employee reviews cite and criticize the company’s culture of secrecy, high stress and necessity to keep to a strict chain of command as the reasons for giving negative feedback. In other words, Apple’s long-time reputation for secrecy and long work hours isn’t changing any time soon.

Over the years, we’ve heard reports of how stressful it can be to work for Apple: Some employees didn’t even know they were working on the first iPad until Steve Jobs showed it on stage. Former employees, too, have talked about the pressure to be on-call, 24/7.

As for Pichai, Google employees reviewed the company negatively based on their perceived shift in workplace culture toward a more corporate and bureaucratic environment, making it harder to get projects off the ground. Employees also shared their feelings that internal politics and favoritism made it difficult to land promotions and pay raises.

Still, both Cook and Pichai scored approval ratings of 91% and 94%, respectively, well above the average CEO approval rating of 69%, showing that they must still be doing something right.

Read the full report on Glassdoor.

Feature Image: Marcio Jose Sanchez/AP

By Katie Canales

Sourced from Business Insider UK

Magazines Ireland calls on the Irish Government to urge the European Commission to reach an agreement on VAT rates applied to printed and digital magazines. In its pre-budget submission, the association is calling on Minister for Finance, Paschal Donohue to support a zero VAT rate on magazines. 

Ciaran Casey, Chairman, Magazines Ireland said “Magazines Ireland supports the Commission’s Proposal, released on 11 January 2018, amending Directive 2006/112 as regards rates of value added tax. The Proposal aims at replacing the current transitional regime into a harmonized system where all Member States would be granted equal freedom in setting VAT rates”.

“We believe that Irish magazines, both print and digital, should be zero rated. UK publishers operating in a VAT free environment have significant advantages over indigenous Irish publishers. Other European countries such as Belgium, Italy, Luxembourg and France also enjoy zero or super-reduced rates”, continued Casey.
Grace Aungier, CEO, Magazines Ireland said “Magazines have an important role to play in educating and informing its audiences on a whole range of issues and in contributing to higher literacy levels in society. Ireland needs to maintain the indigenous character of Irish magazines and their role within our overall societal and cultural identity. A zero VAT rate on magazines would contribute to the wider availability of quality content which is vital for media diversity, literacy and for the personal development of all citizens”.

Ends

Magazines Ireland is the association of Irish magazine publishers and represents 39 Irish publishers who together produce over 185 magazine brands, both consumer and business to business titles in print and digital. CONTACT: Grace Aungier, Magazines Ireland, Tel  01 667 55 79 [email protected] www.magazinesireland.ie     

By Joe Hyrkin

In the last two years, the use of “stories” has increased 842 percent across social platforms, opening new doors for brand engagement.

“Stories” has become a bit of an industry buzzword. With the rise of Instagram and Snapchat Stories, the hype is well deserved. More than any other content type, Stories deliver on the promise of the internet, piercing through the clutter of lists and superficial headlines without the time consuming search to discover.

Further, Stories facilitate access to even more content from a source or category of interest. As the Story format continues to become more popular, it begs the question: what exactly drives the popularity of Stories, and more importantly, how can today’s brands use Stories to build their own brands?

The Rise of Stories

Companies like Instagram and Snapchat have used their versions of Stories to drive the creation and sharing of authentic curated content amongst users — all in a consumable format. According to research conducted by Block Party, over 970 million accounts post Stories daily on Instagram, WhatsApp, Snapchat and Facebook Messenger: an 842 percent lift from 2016.

Earlier this year, Instagram even gave brands the ability to run ads and gain real business insights from Stories, a move that shows the powerful role that Stories play not just for consumers, but also in helping create a new revenue model for businesses. As more consumers become digitally connected and more content becomes available, these consumers want access to the content that aligns most with their deepest interests — not just headlines.

Today, stories can mean magazine articles, opinion pieces, editorials, podcasts and more. What’s most interesting about this shift is how prominent brands are beginning to monetize from their stories through subscriptions: Apple News recently acquired Texture to monetize from its subscription-style magazine service, and news outlets like Axios and The New York Times sell subscriptions to their readers.

Why the Stories Are Key to Building Your Brand

It seems like every platform has their own version of stories, but ultimately, what the format comes down to is this: users and readers want consumable packets of information with enough depth to be meaningful — but not overwhelming. Stories, by definition, need depth so they can be used to guide readers deeper into content they’re interested in, like mile-markers on a highway.

The manifestation of the rising popularity of stories can be compared to the manifestation of specialty content that has changed the nature of commerce. The reason why businesses like Etsy succeed, even in the age of Amazon, is because they carry specialty items and content that cater to people’s passions and interests — and they can return for more. This shift is taking place most prominently in the digital world as stories display the natural evolution of how to share and consume content that people care about.

One image or blog post is no longer enough to build your brand and tell the story that connects a product to consumers. You need substance and depth: do your research, write everything that you want to say, and enrich your content with images and multimedia. Then, turn that content into multiple shareable Stories that resonate with your audience. From there, Stories allow you to:

Build relevance.

Creating great content requires doing research ahead of time: see what other platforms and creators are regularly posting about similar kinds of topics, then tag them and use relevant hashtags when you share your stories. If you want stories that are well-shared, you need to create enough scale and connective tissue across platforms.

Optimize lifetime value.

Most stories have a longer shelf life than just in the moment they’re posted — it’s why Instagram and Snapchat introduced features that allow you to archive, save and share stories beyond their initial 24 hour lifetime. Leverage the long shelf life of your stories and share them in different ways and multiple places, from social media platforms to Reddit to YouTube and more.

Get better press coverage.

Creating and sharing your own Stories are a great way to get more — and higher quality — press coverage. To get noticed in the press, brands traditionally turn to press briefs, which are often short and lack enough depth to be meaningful. Instead, by sharing content-rich Stories, you can connect with journalists in a much more impactful way.  

Consumers want depth, but they also want it easily and efficiently. The Stories format is the best way to deliver this level of meaning and authenticity because it gives brands the space to share details about products that matter to their audiences and enables them to create content once and share it across multiple platforms.

Feature Image Credit: Getty

By Joe Hyrkin

Sourced from Inc.