The Best TikTok Trends and Challenges Right Now

It’s easy to lose track of time and fall into mindless scrolling while on TikTok. The platform stores countless videos that cover a massive range of topics—even ones you’re not looking for (that’s arguably the best part of the app). Launched in China in 2016, TikTok currently has over 100 million active monthly users in the US alone, and has been downloaded over 2 billion times worldwide.

Somehow, the app knows which videos to place in front of users and the perfect time to push those videos forward. That insane algorithm has created one of the best spaces to start viral trends. But it’s not just the algorithms that make TikTok pop. The music, editing tools, filters, and variety of video effects also help users create short clips, up to 60 seconds long, that are addictively entertaining and shareable. We’ve all seen viral dances, pranks, skits, stories, and challenges make their way from TikTok to other media platforms; sometimes it’s hard to keep up with what’s what. But Complex has you covered. Here are some of the best TikTok trends and challenges to watch, right now.

Black LinkedIn Is Thriving. Does LinkedIn Have a Problem With That?

The social network’s tone has long reflected corporate America: staid, monolithic, white. Now Black users are speaking up — and saying the site is limiting their voice.

One day in September, Elizabeth Leiba opened the LinkedIn app and saw a post by Aaisha Joseph, a diversity consultant with nearly 16,000 followers on the platform.

“Ima need #companies to stop sending their dedicated House Negros to ‘deal with the Blacks’ they deem out of control,” read the item. “It’s really not a good look — it’s actually a very #whitesupremacist and #racist one.”

The post was exactly the sort of thing Ms. Leiba, an instructional design manager at City College in Fort Lauderdale, Fla., was looking for. These days, when she pulls out her phone in search of boisterous conversation, hot takes and the latest tea, she finds herself tapping LinkedIn, which since the killing of George Floyd has become a thriving forum for Black expression.

“I go onto Twitter and I get bored,” Ms. Leiba, 46, said. “Then I go right back to LinkedIn because it’s on fire. I don’t even have to go on any other social media now.”

It’s an unexpected development for what has long been the most polite and perhaps the dullest of the major social networks. LinkedIn was founded in 2003 as a place to network and post résumés — essentially, a directory of white-collar professionals. A few years ago, LinkedIn added a Facebook-like news feed that encouraged users to post links and updates, but it has never been a rollicking space. A team of editors helped enforce a mood best described as corporate.

“You talk on LinkedIn the same way you talk in the office,” Dan Roth, LinkedIn’s editor in chief, told The New York Times in August 2019. “There are certain boundaries around what is acceptable.”

Two staggering events have changed that. In early 2020, the pandemic hit, forcing millions to work from home and miss out on break-room chitchat — boosting LinkedIn as a place to vent. Then, the killing of Mr. Floyd in police custody in May put workers over the edge. Black grief went on display, uninhibited, at corporate America’s virtual water cooler.

“I was just 43 years tired,” said Future Cain, a social and emotional learning director at a middle and high school in Wisconsin. “I was using LinkedIn to post positive things and uplift people during the pandemic, and I decided I can’t sit here quietly anymore.”

As protesters took to the streets to demand police reform, Ms. Leiba and Ms. Cain were among those who discovered that LinkedIn was a place to speak to the executive class on something like their home turf. Black users have taken to the site to call out racial discrimination in the workplace and share their stories of alienation on the job.

Not that it’s all serious: Much of the posting is exuberant — full of memes, Black cultural references and linguistic panache. This summer, Ms. Leiba shared a video about code-switching, in which a Black employee transforms while greeting colleagues of color (“Oh, hey, Black queen!”) and a white one (empty-headed hiking talk). “I’ve watched it at least fifty eleven times,” Ms. Leiba wrote.

These are the kinds of conversations, and ways of speaking, that cubicle-dwelling Black workers have typically held out of earshot of their white colleagues. As unusually charismatic posts appeared in my own feed this summer, it seemed clear that Black LinkedIn was emerging as a professional cousin to Black Twitter — the unapologetically Black digital space where people expose long-ignored injustices and pump their experience into the mainstream.

What’s less clear is how comfortable LinkedIn is with the development, having placed its content moderators in the incendiary position of determining what manner of race-related speech is appropriate for its virtual workplace of 706 million users.

Black users who post in forceful tones, and some of their allies, say they feel LinkedIn has silenced them — erasing their posts and even freezing their accounts for violating vague rules of decorum.

For example, the “House Negros” post that Ms. Joseph wrote in September vanished from the platform. Ms. Joseph, who lives in Brooklyn, was able to see it when she viewed her own page, but no other users could — a practice known as shadow banning. (Later, LinkedIn added an unsigned note in red, saying the post had been removed for violating the site’s Professional Community Policies, which instruct users to “be civil and respectful in every single interaction.”) Ms. Joseph began a new item: “Let me say it louder since LinkedIn wanted to delete my post the first time.” The company removed that post, too, saying it included “harassment, defamation or disparagement of others.”

Another user, Theresa M. Robinson, a corporate training consultant in Houston, said LinkedIn had deleted a post she wrote about racism, then reinstated it after she complained. She said she had never received an explanation. Two others, Ms. Cain and Madison Butler, who works in Austin, Texas, also said LinkedIn had restricted their commentary on race.

In the absence of clear communication from the company, these users are left guessing as to what the rules are — and feeling that the company is not just policing their tone but stifling their opportunity to force change in corporate America.

Nicole Leverich, a LinkedIn spokeswoman, wrote in an email: “We are not censoring content and have not made any changes to our algorithm to reduce the distribution of content about these important topics.” She added in an interview that LinkedIn was introducing a new process for notifying users when their posts were flagged for violating platform rules, and that some people hadn’t been phased in by the end of September.

The company acknowledged that it had erred in taking action against some users and restored content that was found, on appeal, not to violate its policies.

“If we make a mistake, we will own it,” said Paul Rockwell, the head of LinkedIn’s trust and safety division. “We will be very clear — this is a learning opportunity for us. We’re going to continue to use that in our journey to get better and better. And we do want to nail this thing.”

Few people think LinkedIn should look anything like the wilds of Reddit or Twitter, which have a certain amount of anonymity and even anarchy built into their DNA. Much of LinkedIn’s value — Microsoft acquired it in 2016 for $26 billion — is tied to its sense of professionalism and respectful conduct. Users must share their real names and credentials, and it’s understood that their current or prospective employers might well scan anything they post.

For Black people in the corporate realm, however, words like “professional” and “respectful” are red flags. Like the natural Black hairstyles that were once widely considered unprofessional, certain behaviors — being too Black, speaking too Black or talking too much about Black topics — have long limited advancement in companies with white cultures.

That’s what has changed on LinkedIn in the last few months. Black people are being, to use a technical term, Blackity-Black Black on LinkedIn. Much of the behavior is not so different from Black Twitter; users pepper their posts with clap emojis to emphasize every syllable, and GIFs celebrate cultural touchstones like Issa Rae’s “Insecure” and Jordan Peele’s “Get Out.” The difference is that it is all happening on a social network that mirrors the business world — a place that is predominantly white.

“It is liberating. It feels like it’s about time,” Ms. Joseph said. “We are taking back what was stolen from us — and that’s our voice. I’m talking specifically to my people in the way that we talk to each other in other spaces, and without regard for any outside audience. No longer having to stifle that has been freeing.”

Part of what Black LinkedIn has done is brought together Black professionals to be their authentic selves in front of their white colleagues. For many, it has been an existential relief, and may provide a blueprint for how Black employees choose to conduct themselves once the physical workplace reopens.

“The days of hiding and masking who you are and dealing with the BS — I just can’t even go back to that,” said Jessica Pharm, 33, who works in human resources at a manufacturing firm near Milwaukee. “Any company that gets me next is getting the full-on Jessica.”

Ms. Leiba posted on Sept. 17: “It means code-switching is OUT. It means the AFRO is coming at you on a daily basis. It means you’re getting these bangle earrings and the poppin’ lip gloss.”

Inevitably, not everyone accepts this kind of exuberance. Posts about Black Lives Matter and racial justice often attract the same kind of dismissive, and sometimes bigoted, responses found on other platforms: rejoinders that “all lives matter,” for instance, or claims about Black-on-Black crime. But because the activity takes place on LinkedIn, these comments typically come with the user’s headshot, place of employment and entire work history attached.

“You start to see these people who are absolutely not OK with this focus on Blackness popping up in commentary, with their name and their company fully on display, giving zero deference to the moment,” said John Graham Jr., 39, a digital marketer and strategist at a California biotechnology company. “I find it telling that people would put their careers in jeopardy and their unconscious biases on full display.”

LinkedIn has also struggled internally with how to respond to the Black Lives Matter movement. In June, the chief executive, Ryan Roslansky, publicly apologized for “appalling” racial comments some employees had made at a companywide staff meeting.

Rosanna Durruthy, LinkedIn’s head of diversity, inclusion and belonging, said in an interview that the company was engaging in hard conversations about race, both inside the company and out.

“We’re really beginning to focus very consistently on how we begin to address this externally” on the platform, she said.

SOURCE: https://www.nytimes.com/2020/10/08/business/black-linkedin.html?action=click&module=Well&pgtype=Homepage&section=Technology

We Tested Instagram Reels, the TikTok Clone. What a Dud.

Millions of people have used the social media app TikTok to make and share short, fun, entertaining videos. I, Brian Chen, am not one of them.

Count me as one of those never-TikTokers. As an older millennial, I have exclusively used Facebook’s Instagram to post photos of my dog. I have never made a 15-second dance video.

But that all changed last week. That was when Facebook released a TikTok copycat called Reels, which is part of Instagram. Its introduction suddenly made making short videos a lot more interesting.

Facebook’s timing was brilliant. That’s because TikTok, which is owned by the Chinese internet company ByteDance, has been under major pressure from President Trump. He has identified TikTok as a national security threat and threatened to ban the app from the United States, prompting numerous panicked TikTokers to look for alternatives.

So here was an opportunity to test Reels and compare it with TikTok. I invited Taylor Lorenz, our internet culture writer and resident TikTok expert, to share her thoughts about how Facebook’s clone worked versus the real thing. With her experience and my novice knowledge, we could assess how both the never-TikTokers and the TikTok die-hards might feel about Reels.

The verdict? For her, it was: Not good. For me, it was: Confused.

Let’s start with what was copied. Both TikTok, a stand-alone app, and Reels, a feature inside Instagram, are free to use. With Reels, Instagram mimicked TikTok’s signature ability to create short video montages, which are overlaid with copyrighted music and embellished with effects like emojis and sped-up motion.

The similarities pretty much ended there — and not in a positive way for Instagram.

On Instagram, the videos are published to a feed known as the Explore tab, a mishmash of photos, sponsored posts and long-form videos. On TikTok, videos are surfaced through For You, a feed algorithmically tailored to show clips that suit your interests. Reels also lacks TikTok’s editing features, like song recommendations and automatic clip trimming, that use artificial intelligence to speed up the process of video creation.

Taylor and I each tested Reels for five days and then talked about what we had found. We didn’t hold back.

TAYLOR I can definitively say Reels is the worst feature I’ve ever used.

BRIAN Please elaborate. As a never-TikToker, I feel that it’s probably the worst Instagram feature I’ve used, too, but your feelings seem stronger than mine.

TAYLOR It’s horrible. Not only does Reels fail in every way as a TikTok clone, but it’s confusing, frustrating and impossible to navigate. It’s like Instagram took all the current functionality on Stories (a tool to publish montages of photos and videos with added filters, text and music clips), and jammed them into a separate, new complicated interface for no reason.

To me, it’s really unclear whom this feature is for.

BRIAN Let’s walk through how to use Reels.

To open the feature, you tap the Explore button (the magnifying glass) and open someone else’s reel before hitting the camera button to start creating your own reel.

So I have to watch someone else’s video before creating my own? This is a waste of time, battery life and cell data.

TAYLOR You can also create a reel by swiping right in Instagram to enter the camera and then selecting Reels, a button next to Story. Which is confusing.

BRIAN It’s totally undiscoverable without reading instructions. But OK, you find the button to create a reel. Then you can start recording videos or add videos you’ve already recorded. Then you can overlay music and some effects like emojis and color filters. Then you write a caption and publish.

How does this compare with TikTok?

TAYLOR TikTok is better in a million ways. The main one being that TikTok removes all of the friction that normally comes with trying to make a good video.

On TikTok, you can just grab a ton of videos (like, hit select on 17 different videos of all different lengths), and dump them all into the app and hit a button. TikTok will automatically select highlights from your videos and edit them in a way to match the beat of whatever sound you choose. This makes it so easy to create a really engaging, smooth video in under 10 seconds from a ton of footage.

Here’s an example of Reels versus TikTok of the same thing. You can see which is better! READ MORE:https://www.nytimes.com/2020/08/12/technology/personaltech/tested-facebook-reels-tiktok-clone-dud.html

Instagram Is Hiding Likes. Will That Reduce Anxiety?

What would Instagram be like if people couldn’t see how many likes fellow users’ posts receive?

Less competitive, less pressurized and more personal, Instagram surmises.

The social media platform, which began testing that theory in May in Canada, this week expanded the experiment to include Instagram users in six more countries. As part of the test, users in Australia, Brazil, Ireland, Italy, Japan and New Zealand will no longer be able to see the counts of likes and video views on other users’ posts.

They will still be able to see who liked someone else’s post or viewed their video, but there won’t be a tally. Of course, people can still do a manual count, if they want to take the time. And users will still be able to see like counts and video view counts for their own posts.

[Read more: What if Instagram Got Rid of Likes?]

“We are expanding the test to get a better sense of how the experience resonates with Instagram’s global community,” Seine Kim, a Facebook spokeswoman, said Thursday. Facebook bought Instagram in 2012.

Instagram did not share any information about what the testing with users in Canada has shown, nor would it say how long the testing will take place in each country. It is also not clear how the company is measuring the test results.

In late April, Adam Mosseri, the head of Instagram, announced at Facebook’s annual event for developers that the testing would begin in Canada.

“We don’t want Instagram to feel like a competition,” Mr. Mosseri said at the event. “We want people to worry a little bit less about how many likes they’re getting on Instagram and spend a bit more time connecting with the people they care about.”

On Wednesday, Mr. Mosseri announced the test’s expansion to the six additional countries on Twitter.

YouTube Executives Ignored Warnings, Letting Toxic Videos Run Rampant

Proposals to change recommendations and curb conspiracies were sacrificed for engagement, staff say.

A year ago, Susan Wojcicki was on stage to defend YouTube. Her company, hammered for months for fueling falsehoods online, was reeling from another flare-up involving a conspiracy theory video about the Parkland, Florida high school shooting that suggested the victims were “crisis actors.”

Wojcicki, YouTube’s chief executive officer, is a reluctant public ambassador, but she was in Austin at the South by Southwest conference to unveil a solution that she hoped would help quell conspiracy theories: a tiny text box from websites like Wikipedia that would sit below videos that questioned well-established facts like the moon landing and link viewers to the truth. 

Wojcicki’s media behemoth, bent on overtaking television, is estimated to rake in sales of more than $16 billion a year. But on that day, Wojcicki compared her video site to a different kind of institution. “We’re really more like a library,” she said, staking out a familiar position as a defender of free speech. “There have always been controversies, if you look back at libraries.”

Since Wojcicki took the stage, prominent conspiracy theories on the platform—including one on child vaccinations; another tying Hillary Clinton to a Satanic cult—have drawn the ire of lawmakers eager to regulate technology companies. And YouTube is, a year later, even more associated with the darker parts of the web.  

The conundrum isn’t just that videos questioning the moon landing or the efficacy of vaccines are on YouTube. The massive “library,” generated by users with little editorial oversight, is bound to have untrue nonsense. Instead, YouTube’s problem is that it allows the nonsense to flourish. And, in some cases, through its powerful artificial intelligence system, it even provides the fuel that lets it spread.

Wojcicki and her deputies know this. In recent years, scores of people insideYouTube and Google, its owner, raised concerns about the mass of false, incendiary and toxic content that the world’s largest video site surfaced and spread. One employee wanted to flag troubling videos, which fell just short of the hate speech rules, and stop recommending them to viewers. Another wanted to track these videos in a spreadsheet to chart their popularity. A third, fretful of the spread of “alt-right” video bloggers, created an internal vertical that showed just how popular they were. Each time they got the same basic response: Don’t rock the boat.

The company spent years chasing one business goal above others: “Engagement,” a measure of the views, time spent and interactions with online videos. Conversations with over twenty people who work at, or recently left, YouTube reveal a corporate leadership unable or unwilling to act on these internal alarms for fear of throttling engagement. 

Wojcicki would “never put her fingers on the scale,” said one person who worked for her. “Her view was, ‘My job is to run the company, not deal with this.’” This person, like others who spoke to Bloomberg News, asked not to be identified because of a worry of retaliation.

YouTube turned down Bloomberg News’ requests to speak to Wojcicki, other executives, management at Google and the board of Alphabet Inc., its parent company. Last week, Neal Mohan, its chief product officer, told The New York Times that the company has “made great strides” in addressing its issues with recommendation and radical content. 

A YouTube spokeswoman contested the notion that Wojcicki is inattentive to these issues and that the company prioritizes engagement above all else. Instead, the spokeswoman said the company has spent the last two years focused squarely on finding solutions for its content problems. Since 2017, YouTube has recommended clips based on a metric called “responsibility,” which includes input from satisfaction surveys it shows after videos. YouTube declined to describe it more fully, but said it receives “millions” of survey responses each week.

“Our primary focus has been tackling some of the platform’s toughest content challenges,” a spokeswoman said in an emailed statement. “We’ve taken a number of significant steps, including updating our recommendations system to prevent the spread of harmful misinformation, improving the news experience on YouTube, bringing the number of people focused on content issues across Google to 10,000, investing in machine learning to be able to more quickly find and remove violative content, and reviewing and updating our policies — we made more than 30 policy updates in 2018 alone. And this is not the end: responsibility remains our number one priority.”

In response to criticism about prioritizing growth over safety, Facebook Inc. has proposed a dramatic shift in its core product. YouTube still has struggled to explain any new corporate vision to the public and investors – and sometimes, to its own staff. Five senior personnel who left YouTube and Google in the last two years privately cited the platform’s inability to tame extreme, disturbing videos as the reason for their departure. Within Google, YouTube’s inability to fix its problems has remained a major gripe. Google shares slipped in late morning trading in New York on Tuesday, leaving them up 15 percent so far this year. Facebook stock has jumped more than 30 percent in 2019, after getting hammered last year. 

YouTube’s inertia was illuminated again after a deadly measles outbreak drew public attention to vaccinations conspiracies on social media several weeks ago. New data from Moonshot CVE, a London-based firm that studies extremism, found that fewer than twenty YouTube channels that have spread these lies reached over 170 million viewers, many who where then recommended other videos laden with conspiracy theories.

The company’s lackluster response to explicit videos aimed at kids has drawn criticism from the tech industry itself. Patrick Copeland, a former Google director who left in 2016, recently posted a damning indictment of his old company on LinkedIn. While watching YouTube, Copeland’s daughter was recommended a clip that featured both a Snow White character drawn with exaggerated sexual features and a horse engaged in a sexual act. “Most companies would fire someone for watching this video at work,” he wrote. “Unbelievable!!” Copeland, who spent a decade at Google, decided to block the YouTube.com domain. READ MORE:https://www.bloomberg.com/news/features/2019-04-02/youtube-executives-ignored-warnings-letting-toxic-videos-run-rampant

THE BEST MUSIC STREAMING SERVICE

Screen Shot 2018-10-07 at 9.13.55 PMYou probably already know that listening to music no longer requires trips to a music store, or purchasing individual songs or albums from iTunes to download to your computer. Today’s best music streaming services have millions of songs in their catalogs, offer personalized playlists, and feature exclusive internet radio shows and podcasts. But which should you pick and pay a subscription fee for?

A good streaming music service has a straightforward user interface that makes it easy to organize a library of thousands of songs or playlists across the web, Android, and iOS apps, and in some cases, a desktop Mac or Windows app. However, while most music streaming services have these features, most of them aren’t free, and nearly all services require paid plans that grant you access to a full on-demand library of music and other features.

While testing these music streaming services, I considered factors like audio quality options, social integration, and built-in lyrics. It’s also absolutely necessary that your streaming app plays nice with more than one personal device. These are all important points when considering which music service to pick and ultimately, make for a better listening experience.

Screen Shot 2018-10-07 at 9.11.25 PM

Spotify is the best streaming music service for a variety of reasons, but there’s one in particular that stands out. It has the most consistent iOS, Android, Mac, and Windows experience. It’s far from perfect, of course, but features rolled out to the iOS version follow on Android not too soon after. Competing music services sometimes have issues with certain platforms, like the clunky Android version of Apple Music or the Windows app for Tidal that sometimes won’t load.

Other than having a unified app experience, Spotify has a large catalog of music (35+ million songs), the best playlist recommendations, useful, yet non-intrusive social features, and a variety of plans (including student discounts) that make it great for most music listeners with a smartphone and some headphones.

It’s also one of the streaming services (alongside Amazon Music and Apple Music) that supports offline listening for both mobile and desktop, which is useful when you’re doing work and don’t want to eat up bandwidth or using your device on a plane without internet. Spotify is also supported by most smart speakers and smart devices, so it’s almost universally available on all platforms.

However, Spotify isn’t without shortcomings. There’s no hi-fi option, the app can misbehave when you have a poor cell connection, and uploading purchased songs to your desktop Spotify library is a convoluted process. Still, Spotify’s mobile and desktop experiences are fast and easy to understand. Spotify’s pricing also set the precedent for other music streaming apps. It has a compelling free option on desktop, a $4.99 option for students (US only), the standard $9.99 premium option that lets you download and stream on all your personal devices, and finally, a $14.99 family plan (for six users total).

A GREAT ALTERNATIVE: APPLE MUSIC

Apple Music has a lot going for it that’s pegged on exclusivity. Beats 1 is home to many top-tier artists that use their respective radio shows to demo and tease new music and collaborations. If you’re a fan of certain popular artists, you might find that the first chance you’ll have to hear their new music is on Apple Music, not Spotify or Tidal. Sound quality is usually better than Spotify’s, thanks to Apple Music using a 256kbps AAC bitrate, compared to the max 320kbps Ogg Vorbis bitrate used by Spotify.

Banking on this sense of access and being “in the know,” Apple Music tops this off with artist’s music videos, adding a visual treat you can enjoy without having to go to another app. However for comparison, Tidal, YouTube Music, and Spotify are the other streaming services that offer music videos built into the app. Of those, only Spotify has short vertical videos for a few of its popular songs; Apple Music does not.

Apple Music also has a digital locker feature that subscribers can take advantage of, to the tune of 100,000 songs. Although, you should be hard-pressed not to find your purchased music in Apple Music’s library of over 50 million songs. You can also save these songs for offline listening on iOS, Android, Mac, Windows, and the Apple Watch.

The iOS, Android, and desktop apps are my least favorite user music streaming interfaces. The abundant use of hot pink accents and white backgrounds everywhere isn’t the most comfortable to view at night. On Android, the Apple Music app feels even more out of place and occasionally had problems staying open on my Pixel 2 XL. Using Apple Music on a desktop requires you to use iTunes, an app that’s slow, cumbersome, confusing, and long overdue for a redesign. Apple Music has definitely not been blessed with the most beautiful interfaces the designers at Cupertino have released.

Apple Music’s pricing is similar to Spotify and other services: $9.99 monthly or $14.99 for a family plan (up to six users), with student discounts varying by country.

If you’re an audiophile — someone who is enthusiastic about hi-fi reproduction — and want to use a streaming service, there are some good alternatives.

For those that have audio hardware capable of taking advantage of lossless hi-fi, then Tidal or Deezer’s $20 lossless plans might be good options. Tidal has a $9.99 on-demand plan as well, but it doesn’t get you the higher sound quality.

On the flip side, casual listeners who want a more radio-style streaming service can opt for the $5 radio-only, no ads version of Pandora; it also includes on-demand streaming, but it’s less mature than its competitors in terms of playlist recommendations and library management.

But what if you have thousands of songs you’ve already purchased the old-fashioned way? If you want the benefits of uploading your music to the cloud and a music streaming service to back that up — that is more consistent on Android and the web — then Google Play Music is the perfect option. However, next year Google is merging YouTube Music with Play Music into a new service with a music uploading feature, so it might be worth waiting.

Instagram Is Too Big Not to Mess With

instagram

On the face of it, there’s nothing surprising about Instagram’s founders leaving six years after the company was sold. Mike Krieger and Kevin Systrom’s tenures at Facebook were longer than that of most Facebook employees, where the average is 2.5 years. And Instagram has come a long way since Facebook bought it in April 2012 for a reported $1 billion. In the past six years, Instagram has grown from 50 million users to more than a billion users, and it currently employs more than 700 people. Today, its estimated worth is over $100 billion.

When Facebook acquired Instagram, it promised that it would not mess with the company. But the truth may be that Instagram has become far too important to Facebook’s bottom line for Mark Zuckerberg to keep that promise. With Mr. Krieger and Mr. Systrom’s departures, the future of Instagram is now completely in Mr. Zuckerberg’s hands.

Instagram’s explosive growth is a success story in its own right, and a big part of the credit is due to Instagram’s executive team, which carried out its vision of an uncluttered feed of photographs. Another part of the company’s story, however, is how much Instagram was able to leverage the technical and advertising infrastructure built by its parent company.

READ MORE: https://www.nytimes.com/2018/09/28/opinion/instagram-facebook.html?action=click&module=Well&pgtype=Homepage&section=Contributors

For Capitalism, Every Social Leap Forward Is a Marketing Opportunity

Brands are now racing to capture the market of young people who strive to live gender identities that fit.

social

They are the new beautiful people and their pronouns are they, their and them. Fashion courts them. Publishers pursue them. Corporations see in them the future of consuming, as generations come of age for whom notions of gender as traditionally constituted seem clunkier than a rotary phone.

Why settle for being a man or a woman when you can locate yourself more exactly along the arc of gender identity? And, on another axis, why limit your sexual expression to a single definition when you can glissade along the Kinsey scale?

“It’s all about letting go of gender so you can be everything in between,” said Terra Juano, a model with 100,000 Instagram followers who track the booming career and amatory antics of this androgynous Mexican-Filipino beauty with a shaved head, a mile-wide smile, an affection for cowboy hats and an uninhibited tendency to go top free.

In the evolving language of gender expression, Terra Juano, though assigned female at birth, identifies as nonbinary. And in business as in life, TJ, a native of Stockton, Calif., has lighted out for a new territory. It is one in which the conventions of both homo- and heteronormative expression are called into question daily.

READ MORE:https://www.nytimes.com/2018/09/18/style/gender-nonbinary-brand-marketing.html?rref=collection%2Fsectioncollection%2Ffashion&action=click&contentCollection=fashion&region=rank&module=package&version=highlights&contentPlacement=4&pgtype=sectionfront