Blavity CEO: 'Employ Black People. Fund Black Entrepreneurs. Do SOMEthing'

Blavity CEO: 'Employ Black People. Fund Black Entrepreneurs. Do SOMEthing'

Minneapolis is burning. Just like Ferguson burned. Just like Baltimore burned. Just like countless other cities before them, swallowed by the rage of black protestors fed up seeing the lives of our brothers and sisters robbed by racism.

We are fed up because we are forced to fight a pandemic amid a pandemic. We are being disproportionately killed by systemic and overt racism at the same time — and are expected to accept these deadly conditions. Crisis after crisis, crisis on top of crisis, we have marched, kneeled, lobbied, voted and built our own spaces to find ways to navigate it all. And yet, we wake up each day, face the trauma and fight on.


Our rightful outrage and collective uproar have made it impossible for the world to ignore our struggles. The world — namely white people who have perpetuated the disparities that have held black Americans back for so long — must feel the pain and anger we feel when we witness black folks being mistreated in plain sight and black lives being taken so mercilessly.

Morgan DeBaun is the chief executive and founder of Blavity Inc.

It is time for non-black Americans, who have benefitted from a system that has always placed more value on their lives, to understand, speak up and DO something about the institutionalized racism that runs rampant. This includes individuals as well as companies who employ and profit from black consumers but have not taken actions or expressed words to show that they believe black lives truly matter.

This is a turning point in America. Accountability can not be avoided and demands have been made loud and clear for corporations near and far: Speak up against racism and take action to fight it. Release a statement denouncing racism and in support of basic human rights for black lives, give money to national black-led non-profits committed to creating social change, donate to bail funds for protestors. Amplify the voices and concerns of black Americans. Employ black people. Fund black entrepreneurs. Do SOMEthing. We all have a role and responsibility in this fight.

Black folks are in a constant state of mourning, from Breonna Taylor to Ahmaud Arbery to Tony McDade — millions of black men and women have been killed unjustly at the hands of white Americans. And the tragedy does not just rest in the loss of life, it exists in all the ways we are negatively impacted by these travesties mentally, emotionally and physically.

Erica Garner would have turned 30 years old last week. Instead, she died three years ago at the young age of 27 after suffering a heart attack. She died because her body could not hold the weight of the burden and pain she was forced to carry fighting for justice on behalf of her father, Eric Garner. She died after watching her father struggle to tell officers "I can't breathe" as one dug an arm into his neck and killed him. She died after using every ounce of energy in her to demand answers in the federal investigation of her father's death. She died, yet these same cops continue to walk free. Days after Erica's untimely passing, Blavity published the last essay she wrote on her relentless fight for justice.

"Now it's been three years later, and we're still waiting on justice," Erica wrote in the last line of her essay, published in January 2018.

NOW, it's been years since Erica's death, and we're still waiting on and fighting for the same thing. But we must fight on because Erica's death should not be in vain — and neither should the deaths of Eric Garner, George Floyd, Tamir Rice, Trayvon Martin and countless others.

Our pain serves a purpose. Destruction is necessary to make space for a new reality. A new world must eventually emerge because, as former President Barack Obama addressed in his statement this morning, we can not accept our current reality.

"It's natural to wish for life 'to just get back to normal' as a pandemic and economic crisis upend everything around us. But we have to remember that for millions of Americans, being treated differently on account of race is tragically, painfully, maddeningly 'normal' — whether it's while dealing with the health care system, or interacting with the criminal justice system, or jogging down the street, or just watching birds in a park. This shouldn't be 'normal' in 2020 America. It can't be 'normal.' If we want our children to grow up in a nation that lives up to its highest ideals, we can and must be better."

For now, we must fight on.

We must manage our mental health in the process.

We must shower our black kids with affection.

We must hold the white people in our lives accountable.

We must support each other's businesses, health and overall wellness.

We must spread love to each other in unconditional ways.

We are all we got.

Morgan DeBaun is the chief executive and founder of Blavity Inc.

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Here’s Why Streaming Looks More and More Like Cable

Lon Harris
Lon Harris is a contributor to dot.LA. His work has also appeared on ScreenJunkies, RottenTomatoes and Inside Streaming.
Here’s Why Streaming Looks More and More Like Cable
Evan Xie

The original dream of streaming was all of the content you love, easily accessible on your TV or computer at any time, at a reasonable price. Sadly, Hollywood and Silicon Valley have come together over the last decade or so to recognize that this isn’t really economically viable. Instead, the streaming marketplace is slowly transforming into something approximating Cable Television But Online.

It’s very expensive to make the kinds of shows that generate the kind of enthusiasm and excitement from global audiences that drives the growth of streaming platforms. For every international hit like “Squid Game” or “Money Heist,” Netflix produced dozens of other shows whose titles you have definitely forgotten about.

The marketplace for new TV has become so massively competitive, and the streaming landscape so oversaturated, even relatively popular shows with passionate fanbases that generate real enthusiasm and acclaim from critics often struggle to survive. Disney+ canceled Luscasfilm’s “Willow” after just one season this week, despite being based on a hit Ron Howard film and receiving an 83% critics score on Rotten Tomatoes. Amazon dropped the mystery drama “Three Pines” after one season as well this week, which starred Alfred Molina, also received positive reviews, and is based on a popular series of detective novels.

Even the new season of “The Mandalorian” is off to a sluggish start compared to its previous two Disney+ seasons, and Pedro Pascal is basically the most popular person in America right now.

Now that major players like Netflix, Disney+, and WB Discovery’s HBO Max have entered most of the big international markets, and bombarded consumers there with marketing and promotional efforts, onboarding of new subscribers inevitably has slowed. Combine that with inflation and other economic concerns, and you have a recipe for austerity and belt-tightening among the big streamers that’s virtually guaranteed to turn the smorgasbord of Peak TV into a more conservative a la carte offering. Lots of stuff you like, sure, but in smaller portions.

While Netflix once made its famed billion-dollar mega-deals with top-name creators, now it balks when writer/director Nancy Meyers (“It’s Complicated,” “The Holiday”) asks for $150 million to pay her cast of A-list actors. Her latest romantic comedy will likely move over to Warner Bros., which can open the film in theaters and hopefully recoup Scarlett Johansson and Michael Fassbender’s salaries rather than just spending the money and hoping it lingers longer in the public consciousness than “The Gray Man.”

CNET did the math last month and determined that it’s still cheaper to choose a few subscription streaming services like Netflix and Amazon Prime over a conventional cable TV package by an average of about $30 per month (provided you don’t include the cost of internet service itself). But that means picking and choosing your favorite platforms, as once you start adding all the major offerings out there, the prices add up quickly. (And those are just the biggest services from major Hollywood studios and media companies, let alone smaller, more specialized offerings.) Any kind of cable replacement or live TV streaming platform makes the cost essentially comparable to an old-school cable TV package, around $100 a month or more.

So called FAST, or Free Ad-supported Streaming TV services, have become a popular alternative to paid streaming platforms, with Fox’s Tubi making its first-ever appearance on Nielsen’s monthly platform rankings just last month. (It’s now more popular than the first FAST service to appear on the chart, Paramount Global’s Pluto TV.) According to Nielsen, Tubi now accounts for around 1% of all TV viewing in the US, and its model of 24/7 themed channels supported by semi-frequent ad breaks couldn’t resemble cable television anymore if it tried.

Services like Tubi and Pluto stand to benefit significantly from the new streaming paradigm, and not just from fatigued consumers tired of paying for more content. Cast-off shows and films from bigger streamers like HBO Max often find their way to ad-supported platforms, where they can start bringing in revenue for their original studios and producers. The infamous HBO Max shows like “The Nevers” and “Westworld” that WBD controversially pulled from the HBO Max service can now be found on Tubi or The Roku Channel.

HBO Max’s recently-canceled reality dating series “FBoy Island” has also found a new home, but it’s not on any streaming platform. Season 3 will air on TV’s The CW, along with a new spinoff series called (wait for it) “FGirl Island.” So in at least some ways, “30 Rock” was right: technology really IS cyclical.

As TikTok Faces a Ban, Competitors Prepare to Woo Its User Base

Kristin Snyder

Kristin Snyder is dot.LA's 2022/23 Editorial Fellow. She previously interned with Tiger Oak Media and led the arts section for UCLA's Daily Bruin.

As TikTok Faces a Ban, Competitors Prepare to Woo Its User Base
Evan Xie

This is the web version of dot.LA’s daily newsletter. Sign up to get the latest news on Southern California’s tech, startup and venture capital scene.

Another day, another update in the unending saga that is the potential TikTok ban.

The latest: separate from the various bills proposing a ban, the Biden administration has been in talks with TikTok since September to try and find a solution. Now, having thrown its support behind Senator MarkWarner’s bill, the White House is demanding TikTok’s Chinese parent company, ByteDance, sell its stakes in the company to avoid a ban. This would be a major blow to the business, as TikTok alone is worth between $40 billion and $50 billion—a significant portion of ByteDance’s $220 billion value.

Clearly, TikTok faces an uphill battle as its CEO Shou Zi Chew prepares to testify before the House Energy and Commerce Committee next week. But other social media companies are likely looking forward to seeing their primary competitor go—and are positioning themselves as the best replacement for migrating users.

Meta

Last year, The Washington Post reported that Meta paid a consulting firm to plant negative stories about TikTok. Now, Meta is reaping the benefits of TikTok’s downfall, with its shares rising 3% after the White House told TikTok to leave ByteDance. But this initial boost means nothing if the company can’t entice creators and viewers to Instagram and Facebook. And it doesn’t look promising in that regard.

Having waffled between pushing its short-form videos, called Reels, and de-prioritizing them in the algorithm, Instagram announced last week that it would no longer offer monetary bonuses to creators making Reels. This might be because of TikTok’s imminent ban. After all, the program was initially meant to convince TikTok creators to use Instagram—an issue that won’t be as pressing if TikTok users have no choice but to find another platform.

Snap

Alternatively, Snap is doing the opposite and luring creators with an ad revenue-sharing program. First launched in 2022, creators are now actively boasting about big earnings from the program, which provides 50% of ad revenue from videos. Snapchat is clearly still trying to win over users with new tech like its OpenAI chatbot, which it launched last month. But it's best bet to woo the TikTok crowd is through its new Sounds features, which suggest audio for different lenses and will match montage videos to a song’s rhythm. Audio clips are crucial to TikTok’s platform, so focusing on integrating songs into content will likely appeal to users looking to recreate that experience.

YouTube

With its short-form ad revenue-sharing program, YouTube Shorts has already lured over TikTok creators. It's even gotten major stars like Miley Cyrus and Taylor Swift to promote music on Shorts. This is likely where YouTube has the best bet of taking TikTok’s audience. Since TikTok has become deeply intertwined with the music industry, Shorts might be primed to take its spot. And with its new feature that creates compiles all the videos using a specific song, Shorts is likely hoping to capture musicians looking to promote their work.

Triller

The most blatant attempt at seducing TikTok users, however, comes from Triller, which launched a portal for people to move their videos from TikTok to its platform. It’s simple, but likely the most effective tactic—and one that other short-form video platforms should try to replicate. With TikTok users worried about losing their backlog of content, this not only lets users archive but also bolsters Triller’s content offerings. The problem, of course, is that Triller isn’t nearly as well known as the other platforms also trying to capture TikTok users. Still, those who are in the know will likely find this option easier than manually re-uploading content to other sites.

It's likely that many of these platforms will see a momentary boost if the TikTok ban goes through. But all of these companies need to ensure that users coming from TikTok actually stay on their platforms. Considering that they have already been upended by one newcomer when TikTok took over, there’s good reason to believe that a new app could come in and swoop up TikTok’s user base. As of right now, it's unclear who will come out on top. But the true loser is the user who has to adhere to the everyday whims of each of these platforms.

https://twitter.com/ksnyder_db

We Asked Our Readers How They’re Using AI in a Professional Setting. Here's What They Said

Decerry Donato

Decerry Donato is a reporter at dot.LA. Prior to that, she was an editorial fellow at the company. Decerry received her bachelor's degree in literary journalism from the University of California, Irvine. She continues to write stories to inform the community about issues or events that take place in the L.A. area. On the weekends, she can be found hiking in the Angeles National forest or sifting through racks at your local thrift store.

We Asked Our Readers How They’re Using AI in a Professional Setting. Here's What They Said
Evan Xie

According to Pew Research data, 27% of Americans interact with AI on a daily basis. With the launch of Open AI’s latest language model GPT-4, we asked our readers how they use AI in a professional capacity. Here’s what they told us:

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