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Tag: youtube

  • YouTuber: Logan Paul’s NFT ‘Game’ Is A Big Crypto Scam

    YouTuber: Logan Paul’s NFT ‘Game’ Is A Big Crypto Scam

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    An image of Logan Paul in his "I'll Never Fight Again" YouTube video from November 2022.

    YouTuber and internet personality Logan Paul has found himself with a massive target on his forehead recently. Paul, who’s been on something of a redemption arc these last few years following the “suicide forest” fiasco in December 2017, is back in hot water after crypto investigator Stephen “Coffeezilla” Findeisen published a three-part video series looking into CryptoZoo, a blockchain “game” Paul once heavily promoted. There are just two glaring problems here: The game doesn’t exist yet, and Paul’s most ardent fans and early investors have lost hundreds of thousands of dollars in the process of supporting it.

    Logan Paul, the older brother of boxer and media personality Jake Paul, is a YouTuber who began creating content on Vine in the early 2010s before migrating to Google’s video platform once Vine shuttered. He regularly uploads vlog-style videos in which he offers viewers a voyeuristic look into his daily life and the various shenanigans he engages in. While already a controversial figure during his early content creation days, Paul didn’t really draw the internet’s ire until December 2017 when he filmed a video in Japan’s Aokigahara Forest in which he and members of his crew filmed and interacted with a dead body in a manner many considered tasteless and inappropriate. (Aokigahara has a reputation for being a site of frequent suicides.)

    This video and the subsequent reaction to it absolutely tanked Paul’s career for much of 2018. However, since then, Paul’s been rehabilitating his image as a media personality and professional wrestler, signing to WWE’s Raw while hosting a YouTube podcast that boasts over four million subscribers. Dude’s doing very well for himself. However, he’s the internet’s main character again following what appears to be his involvement in one of the biggest crypto scams that has been uncovered to date.

    Coffeezilla

    In a three-part video series totaling a little over an hour, Stephen “Coffeezilla” Findeisen—a YouTuber who “uncovers scams, fraudsters, and fake gurus that are preying on desperate people with deceptive advertising”—looked into CryptoZoo. What the hell is CryptoZoo? Well, as Paul explains it, it’s a “really fun game that earns you money.” According to the official website, which says the game is currently “undergoing upgrades to the core infrastructure of the ecosystem,” CryptoZoo is an “autonomous ecosystem that allows ZooKeepers to buy, sell, and trade exotic animals and hybrids.” Basically, it’s an NFT game in which players purchase zoo coins, CryptoZoo’s in-game currency, to buy egg NFTs that are hatched to become animals. Once hatched, you then breed those animals together to make hybrids and the rarer the hybrid, the higher the daily yield of zoo coins. Cash those out and boom, you’re pulling in money. In short, it’s structured to work like passive income.

    Unfortunately, this “play-to-earn” NFT game filled with hand-made art—as Paul likes to heavily emphasize on his podcast Impaulsive—has never yet been playable, despite letting people sink tons of money into it. Coffeezilla discovered that, since CryptoZoo’s introduction in 2021, Paul stans have spent some $2.5 million on eggs alone, with the coin itself skyrocketing to a market cap of roughly $2 billion. Some folks Coffeezilla talked to shelled out tens, sometimes hundreds of thousands of dollars on CryptoZoo because they believed Paul was a “changed man” and he was creating a “safe place” for the everyperson to invest in cryptocurrency. Turns out they were wrong, at least on the second part, because now those people are out thousands of dollars.

    Coffeezilla

    Rob, or Helicopter Bob, one of the victims Coffeezilla video-chatted with, said he lost “just under $7,000 with CryptoZoo.” Helicopter Bob explained that the passive income, the project’s core mechanic, “never did [work] from the beginning and wasn’t even written into the contract where it showed you were actually yielding with Zoo.” He went on to say that “there was no way to claim your yield [and] there never was.” Basically, people were putting money into a system that was providing zero returns.

    Worse yet, as an unnamed person told Coffeezilla in a separate video call, those who invested in CryptoZoo couldn’t even hatch the eggs they bought. “It’s just a picture,” the person said about the eggs. “There’s nothing I can do with it. It’s basically worth nothing whatsoever.” So, you’ve got diehard Paul fans pining to play a nonfunctioning game and losing money in the process. A game, mind you, that still doesn’t work to this day.

    Coffeezilla

    In Coffeezilla’s videos, we hear Paul explain certain issues with CryptoZoo’s development. Specifically, he says a “developer fled to Switzerland” with the source code and held it hostage for $1 million, and this is why the game’s been broken. But this developer, who Coffeezilla spoke to in the course of his investigation, claims that he hadn’t been paid at all for his work on CryptoZoo, despite bringing on a team of 30 engineers and burning $50,000 a week to build the NFT project. Another CryptoZoo developer Coffeezilla spoke with corroborated the claim, saying he also hadn’t been paid at all. Not only were Paul’s fans finding holes in their wallets after investing in CryptoZoo, but it appears that the people working on the project weren’t even being paid adequately or on time.

    Kotaku reached out to Findeisen and Paul for comment.

    Paul, for his part, has said that the report is “simply not true” and that, “when appropriate, all bad actors will be exposed, explained, & held fully accountable,” promising more details in his January 3 podcast. On December 26, Paul publicly invited Coffeezilla to appear on the Impaulsive podcast to hash everything out, though Coffeezilla responded by saying that he’d already invited Paul onto his show the day before. It remains to be seen whether or not anything will come to fruition from these exchanges.

     

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    Levi Winslow

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  • NFL Sunday Ticket heads to YouTube starting in 2023

    NFL Sunday Ticket heads to YouTube starting in 2023

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    NFL Week 15: Vikings’ historic comeback


    NFL Week 15 highlights: Minnesota Vikings’ historic comeback win over Detroit Lions

    04:48

    The NFL announced it reached a multi-year agreement with YouTube to stream its Sunday Ticket beginning next season. The deal with YouTube could reach $2.5 billion per year for Sunday Ticket, The New York Times reported.

    Sunday Ticket allows viewers in the United States to watch nearly all their favorite teams and players regardless of location. League commissioner Roger Goodell said the partnership with Youtube will “usher in a new era of how fans across the United States access, watch and follow the NFL.” 

    “For a number of years we have been focused on increased digital distribution of our games and this strategic partnership is yet another example of us looking towards the future and building the next generation of NFL fans,” Goodell said in a statement. 

    The Sunday Ticket will be available as an add-on package on YouTube’s subscription services, YouTube TV and YouTube Primetime Channels. Depending on a viewer’s location, it will consist of all out-of-market Sunday regular season NFL games. 

    The NFL said it will work with YouTube to determine the distribution of Sunday Ticket in commercial establishments such as bars. 

    A price has not been announced yet. The service’s product features and functionality will be unveiled prior to the 2023 season. 

    NFL Sunday Ticket has long been a viewing staple for many football fans. It was launched in 1994 and was distributed by DirecTV since its inception. The terms of the deal with YouTube were not disclosed, but The New York Times reported the online behemoth will pay about $1 billion more than DirecTV and the agreement will run for seven years. 

    YouTube CEO Susan Wojcicki said in a statement, in part, that they’re “excited to continue our work with the NFL to make YouTube a great place for sports lovers everywhere.”

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  • Watch Daft Punk’s “Harder, Better, Faster, Stronger” Performed by a Band of Electric Toothbrushes – EDM.com

    Watch Daft Punk’s “Harder, Better, Faster, Stronger” Performed by a Band of Electric Toothbrushes – EDM.com

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    A small band of googly-eyed electric toothbrushes is here with a cover of Daft Punk‘s legendary track, “Harder, Better, Faster, Stronger.”

    The cover, which uses an ab belt as a kick drum, comes courtesy of Device Orchestra, a YouTube channel that creates covers of popular music utilizing devices like credit card machines and typewriters.

    The toothbrush band’s Daft Punk cover has an audience of two dumbbells and a kettlebell, and one of the “members” performs with a mini 3D-printed dumbbell.   Since the toothbrushes’ vibration frequency can be modified, this allows them to play the various notes and rhythms of the timeless electronic hit. The faster the vibration, the higher the frequency and vice versa.

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    Lennon Cihak

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  • How much more can the streaming music business grow? Not much, it turns out – National | Globalnews.ca

    How much more can the streaming music business grow? Not much, it turns out – National | Globalnews.ca

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    Back in September at a music conference in Singapore, Sir Lucian Grainge, the CEO of Universal Music Group, stated that 100,000 new songs were being uploaded to streaming music platforms every day. That figure was confirmed at the same conference by Steve Cooper, the departing CEO of Warner Music Group.

    The audience was shocked. Numbers like 25,000 or even 60,000 have been tossed around. But 100,000?

    To be fair, neither man was talking about 100,000 unique and different songs. This number includes all the remixes, edits, alternate versions, live performances, special mixes (Dolby ATMOS/high-res/Spatial Audio, etc.), and the odd duplicate. But it’s still a lot. Apple Music, Amazon Prime Music, and YouTube Music all say they have at least 100 million tracks available. Spotify could be at that level, too, but the most recent official number I’ve seen for their library is 82 million.

    To put that into perspective, even the biggest record store back in the olden days (i.e. pre-Internet) stocked 100,000 titles at most. If we assume that each album has an average of 12 tracks, that’s a mere 1.2 million songs.

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    We’ve long passed the point of Too Much Music. Our choices are endless, practically infinite. And this isn’t a good thing. Let me count the ways.

    Let’s look at it from the perspective of the artist. Making your songs available for worldwide distribution has never been easier. But when you upload a track, it has to fight for attention with the other 99,999 tracks that were uploaded that day, not to mention the other 100 million already sitting in the library. Your brand new unknown track has to compete with practically every other song written in history.

    Read more:

    The live music industry is in big trouble. Here’s why

    No wonder it’s estimated that around 20 per cent of the songs in Spotify’s library haven’t been streamed even once. If we accept Spotify’s estimate of 82 million songs in its library, that means there are 16,400,000 tracks that remain unheard of by anyone, ever.

    We’re starting to hear about fan fatigue, too. This once-wonderous all-you-can-eat buffet is beginning to make people queasy. All this choice has people flicking through song after song after song, looking for something perfect for the moment. This has become a grind as music is being used as a tool for our day-to-day activities rather than something that we can sink into and experience. We’re not listening; we’re merely soundtracking.

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    So much choice has led to confusion. Sure, this song is good, but there’s gotta be something even better out there. What’s everyone else listening to? What am I missing? I’m falling behind! Some even throw up their hands in despair: “I DON’T EVEN KNOW WHAT I LIKE ANYMORE!”

    For many, selecting something to listen to has become an interminable chore. Discovering new music has paradoxically become more difficult.

    Our attention spans have shrunk. If we don’t like something immediately — usually within five to 10 seconds — we hit the skip button. The algorithms then remove that song from what it recommends to us and we never have the opportunity to learn to like something that requires repeated listening.

    New music is increasingly dismissed, especially something different or experimental that has the potential to be groundbreaking and/or transformative if just given the time. The more choice we have, the more disposable songs become.

    Find a song. Make a judgment after 10-15 seconds. Skip. Next song. Skip. Repeat over and over and over again.

    What’s the solution? Some people are weaning themselves from constant streaming, opting instead to stick with a smaller, manageable selection of playlists that they’ve created themselves. Others have returned to physical media like CDs, vinyl, and even cassettes. An actual physical object that contains music invites far more investigation, which can lead to greater engagement.

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    Some of those folks have cancelled their streaming music accounts, concerned about how little they hear artists are making from streaming. Others are even discovering the pleasures of old-fashioned radio where they don’t have to worry about choice.

    Read more:

    Music generated by artificial intelligence is coming to the radio sooner than you think

    Meanwhile, the streamers have problems of their own. Ingesting thousands and thousands of new songs every day requires server space. Servers cost money. It takes electricity to run those servers. More customers mean more bandwidth is required to distribute all these digital files. That costs money and consumes energy.

    It’s to the point where digital music is less environmentally friendly than selling music on pieces of plastic. Add in the economics of the streamers’ business models — all their costs rise in lockstep with revenues — and you have a bunch of platforms that are very concerned for their financial futures.

    While record labels, especially the majors, are making billions from streaming, a figure that’s growing every quarter, they’re concerned that the market share for new music is shrinking as people opt to listen to more and more familiar music from years gone by. The gold rush that is “catalogue music” (material more than two years old) comes at the expense of new songs, which are supposed to be the catalogue music of the future.

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    Something has to change. The tsunami of new music is unsustainable in so many ways. Do streamers cap the number of songs they ingest? Do they restrict the size of their accessible libraries to their customers? Do they cull the songs that aren’t getting any attention from their libraries? Will we see streamers start to discourage musicians from uploading music by limiting royalties for songs that stream more than, say, a thousand times?

    Think about Mickey Mouse in The Sorcerer’s Apprentice. If someone doesn’t do something, we risk drowning in music that we will never hear.


    Click to play video: 'Spotify grapples with artist backlash over COVID-19 misinformation on platform'


    Spotify grapples with artist backlash over COVID-19 misinformation on platform


    &copy 2022 Global News, a division of Corus Entertainment Inc.

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    Alan Cross

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  • Here’s How Social Media Giants—Including Twitter And Meta—Are Bracing For Midterm Misinformation

    Here’s How Social Media Giants—Including Twitter And Meta—Are Bracing For Midterm Misinformation

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    Topline

    All major social media platforms have outlined plans to tackle misinformation around the midterm election and its immediate aftermath, but questions will remain about their effectiveness and the ability of these platforms to adequately implement these measures after struggling to do so during the 2020 elections.

    Key Facts

    Meta, which owns Facebook and Instagram, has temporarily suspended all “political, electoral and social issue” ads from its platforms like it did during the 2020 election and says it will reject all ads that discourage people from voting or question the legitimacy of the elections— will also take down posts that promote voter suppression, including misinformation about polling dates, locations, timings and voter eligibility.

    TikTok says it has been labeling all content around the midterms with links to its “Election Center” page which the company says will offer users “authoritative information” about the polls.

    The platform will take down any content pushing election misinformation, harassment of poll workers, hateful behavior, and violent extremism and any content which is in the process of being fact checked by its partners will not be recommended on user’s ‘For You’ feed.

    Twitter says it plans to get ahead of misinformation on the platform using “prebunks” which are prompts that appear on a user’s timeline that “proactively address topics that may be the subject of misinformation.”

    Like it did in 2020, Twitter says it will continue to use labels on tweets sharing election-related misinformation, claiming that these help both direct people toward debunking content while reducing engagement levels for these tweets.

    Both YouTube and its parent Google will rely on the Associated Press to display “authoritative election results” on their platforms, while YouTube will also elevate content from “authoritative news sources” like “CNN and Fox News,” limit the spread of “harmful election misinformation” and add information panels on top of all election related search results.

    What To Watch For

    All eyes will be on Twitter after it was recently acquired by billionaire and self-styled “free speech absolutist” Elon Musk. While Twitter continues to have policies in place to deal with election misinformation, there have been concerns about its ability to enforce these policies as it is set to lose nearly half of its workforce in a mass layoff on Friday. Earlier this week, Twitter’s Head of Safety and Integrity Yoel Roth acknowledged that the platform had seen a brief surge in hateful content after being acquired by Musk, but attributed most of these issues to a small number of troll accounts. Earlier this week, Bloomberg reported that most members of Twitter’s Trust and Safety team have been restricted from accessing the platform’s internal moderation tools. In addition to this, Twitter’s new owner, Elon Musk, faced criticism over the weekend after he tweeted out an unfounded conspiracy theory about the attack on House Speaker Nancy Pelosi’s husband. Musk, who has engaged in a war of words with progressive Rep. Alexandria Ocasio-Cortez (D-N.Y.), responded to a clip of the congresswoman accusing Musk of restricting her Twitter account by writing “What can I say? It was a naked abuse of power.”

    Key Background

    All the policies outlined by the major social media platforms largely seem to build upon measures that were in place for the 2020 elections. While most of these policies were enacted as outlined, there were several questions about the effectiveness of the use of labels and fact checks by “authoritative sources.” Immediately after the 2020 election, all platforms had to scramble to deal with former President Donald Trump’s refusal to concede and various conspiracy theories shared by him and his supporters about the legitimacy of the election process. The proliferation of these false claims, led by the former president, came to a head when Trump supporters stormed the Capitol building on January 6, resulting in the former president being banned from all major social media platforms.

    Tangent

    It is unclear what kind of “authoritative news” content YouTube plans to elevate but the choice of Fox News as one of the sources may raise some eyebrows as the network faces a $1.6 billion lawsuit from voting machine maker Dominion which has accused it of amplifying false claims about the voting machines being used to rig the 2020 elections.

    Further Reading

    Twitter Safety Head Admits ‘Surge In Hateful Conduct’ As Firm Reportedly Limits Access To Moderation Tools (Forbes)

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    Siladitya Ray, Forbes Staff

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  • Report: You’re Obsessed with YouTube and Netflix, Not Cable and Broadcast

    Report: You’re Obsessed with YouTube and Netflix, Not Cable and Broadcast

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    It’s official: You’re watching television when you want to, not when you’re told to. For the third consecutive month, Nielsen says Americans are streaming more than tuning in for old-fashioned broadcast or cable TV. Even the return of football and the fall TV season couldn’t drag down streaming, which commanded nearly 37% of all television viewing in September.

    Most notably, Americans spent more time watching YouTube than any other streaming service, even Netflix. YouTube was once primarily thought of as a mobile app popular with young, cellphone-wielding users, but more and more people are watching its content—including music videos, tutorials, and vlogs—on TV screens. The company says 135 million people logged into its app from TVs last year.

    Netflix had long been the most-popular streaming service in the US, according to Nielsen, though YouTube has been close behind for some time. It remained the subscription streaming app of choice for Americans in September, the month it released Ryan Murphy’s Dahmer—Monster: The Jeffrey Dahmer Story, which has become the second-most popular English-language TV show in its history. (The fourth season of Stranger Things still wears the crown.) Netflix—which has 73.4 million subscribers in the US and Canada—had a significant head start in the streaming wars, launching its service well before Amazon, Apple, Disney and others flooded the market. Even with its recent challenges—it lost subscribers during the first half of the year, though it’s started to gain them back—its shows consistently top Nielsen’s ranking of streaming programs. So while it’s not surprising that it remains the most-watched subscription streamer in the U.S., it’s notable that it commands a larger percentage of total viewership than Prime Video, Disney+ and HBO Max combined. 

    Streaming services got an unexpected boost when people found themselves homebound during the pandemic. Combined, broadcast and cable still represent more than half of Americans’ total TV consumption. And broadcast showed signs of life earlier this year with the launch of ABC comedy breakout Abbott Elementary, which returned for a second season in September after collecting three Emmys. But Nielsen’s data shows that streaming—which first overtook cable in July after beating out broadcast for the first time in 2021—has grown its share of viewing every month since.

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    Natalie Jarvey

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  • Bad Kid Pariss Shakes Things Up With Latest Song and Video Release

    Bad Kid Pariss Shakes Things Up With Latest Song and Video Release

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    “Shake It” shines a spotlight on the rising star’s rapping and dancing skills as she makes a name for herself in the entertainment industry.

    Press Release


    Oct 4, 2022

    While many 11-year-olds are hanging out with friends and watching their favorite YouTubers or singers and dreaming about making it big in the industry, Paris Gilliam is turning these dreams into action. 

    Under the stage name Bad Kid Pariss, the 11-year-old young actor, influencer, rapper, and YouTuber dropped her latest song and video, “Shake It,” to Apple Music and Spotify. Her latest effort adds further proof of her talents to a portfolio of work already attracting attention for her rapping skills and contagious energy. 

    And “Shake It” isn’t only catching the attention of Bad Kid Pariss’ fans across her social media channels. She has the backing of some big names in the industry who are eagerly sharing her music and promoting the young dynamo’s career.  

    The rising star has gained a growing legion of fans as part of FunnyMike Ent’s group of young, dynamic stars known as the BadKids. With the backing of FunnyMike’s artist development engine behind her, Bad Kid Pariss has seen her YouTube stock rising, her social media followers exploding, and her music career skyrocketing, including multiple song and video releases over the past year. 

    “I had so much fun recording and releasing my new song ‘Shake It’ and its video,” said Bad Kid Pariss. “My goal in everything I do is to get to the top, and I’ve got a great team supporting me. I want to thank FunnyMike for helping shape my career as I make my way to the top, as well as the director of the ‘Shake It’ video Mr. Singleton.”

    “Shake It” is available on Apple MusicSpotify, and Bad Kid Pariss’ YouTube channel. To learn more about BadKid Pariss, visit https://www.badkidparis.com/ and follow her on Instagram.

    # # #

    Source: Bad Kid Pariss

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  • Supreme Court will hear two cases seeking to hold social media companies financially responsible for terrorist attacks

    Supreme Court will hear two cases seeking to hold social media companies financially responsible for terrorist attacks

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    The Supreme Court said Monday it will hear two cases seeking to hold social media companies financially responsible for terrorist attacks. Relatives of people killed in terror attacks in France and Turkey had sued Google, Twitter and Facebook, accusing the companies of helping terrorists spread their message and radicalize new recruits.

    The court will hear the cases this term, which began Monday, with a decision expected before the court recesses for the summer, usually in late June. The court did not say when it would hear arguments, but the court has already filled its argument calendar for October and November.

    One of the cases the justices will hear involves Nohemi Gonzalez, a 23-year-old U.S. citizen studying in Paris. The Cal State Long Beach student was one of 130 people killed in ISIS attacks in November 2015. The attackers struck cafes, outside the French national stadium and inside the Bataclan theater. Gonzalez died in an attack at La Belle Equipe bistro.

    Her friend, Cal State student Niran Jayasiri, may have been the last to see Gonzalez alive, standing next to her at the café as a terrorist opened fire.

    Nohemi Gonzalez
    Nohemi Gonzalez

    “First I thought it was firecrackers because it sounded like firecrackers,” Jayasiri told CBS News in 2015. “When I looked into the direction where the noise was coming, I saw a gunman just walking on the sidewalk, just shooting everybody.”

    Gonzalez’s relatives sued Google, which owns YouTube, saying the platform had helped the Islamic State of Iraq and Syria, or ISIS, by allowing it to post hundreds of videos that helped incite violence and recruit potential supporters. Gonzalez’s relatives said that the company’s computer algorithms recommended those videos to viewers most likely to be interested in them.

    But a judge dismissed the case and a federal appeals court upheld the ruling. Under U.S. law — specifically Section 230 of the Communications Decency Act — internet companies are generally exempt from liability for the material users post on their networks.

    The other case the court agreed to hear involves Jordanian citizen Nawras Alassaf. He died in the 2017 attack on the Reina nightclub in Istanbul where a gunman affiliated with ISIS killed 39 people.

    Alassaf’s relatives sued Twitter, Google and Facebook for aiding terrorism, arguing that the platforms helped ISIS grow and did not go far enough in trying to curb terrorist activity on their platforms. A lower court let the case proceed.

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  • Victoria Dennis Releases New Single ‘Booty Pop’

    Victoria Dennis Releases New Single ‘Booty Pop’

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    Press Release


    Jul 29, 2022

    Reigning out of the city that never sleeps, New York City is the lyrically inclined and talented Victoria Dennis. Singing and dancing her way into hearts, dance floors, and stages with songs like “Miles Away”  “Rooms” and “Out of Your Mind ” she released her new single titled “Booty Pop”. The nineteen-year-old singer, songwriter, drummer, and dancer has always had her eyes and heart set on one thing,  performing and connecting with people on social media platforms liik Tik Tok. When writing “Booty Pop”, Victoria stated she wanted to “push the envelope and create something FUN.”. When this record comes on it gives you this feeling that makes you just want to dance wherever you’re standing. Whether you are at the grocery store, subway station, at work, or driving. 

    Victoria aims to not only entertain her fans but also is big on girl power, confidence, and sexiness while still remaining poise, which are values Victoria gets from her modeling career she started at age 5. When writing this song with her co-writer Shatic Mitchell, the beat gave Victoria this old-school vibe which helped curate these melodies and chorus breakdowns that embodies a classic “Brittney Spears” like aura. Victoria states, “We talk about women, and how sexy it is for a female to be dominant! Women are beautiful, and using our charm and power can lead to desirable things.”.

    Victoria, an advocate for anti-bullying, has always gone by the motto “Take your negative and make it positive” using her music as an escape where she can express herself and her feelings with unlimited creativity. Her writing style oozes vulnerability and gives her listeners something to relate to in all of her songs throughout many phases of their lives; this is what made “Booty Pop” special for the young star. Dennis wants to leave a legacy behind that will always encourage her fans to walk in their destiny and always have fun.
    “Hours and hours of work went into this record across the board with everyone who had hands on it, and I feel so relieved that it’s finally out because it was something out of my comfort zone, but I tried it and believe I might’ve just created one of my favorite songs to date!” Victoria says. Be sure to check out “Booty Pop” on all streaming platforms, and catch this fun, energetic music video. To stay updated on Victoria, you can follow her on Instagram @VictoriaDennisMusic

    For all media/press related inquiries contact: 

    Kameran Bryant

    kameranbryantpr@gmail.com

    Source: Victoria Dennis

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  • Gemr Celebrates Batman Day With Launch of User-Created Clubs, Ultimate Collector Giveaway, More

    Gemr Celebrates Batman Day With Launch of User-Created Clubs, Ultimate Collector Giveaway, More

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    Updates Include Chrome Browser Extension, “Nerdlebrity” Influencers, CollectorCast Podcast, and YouTube Channel Launch

    Press Release



    updated: Sep 22, 2017

    Collector culture is growing at an exponential rate, and online collector hub Gemr (pronounced with a soft “g” because they’re a real gem) is quickly emerging as the preferred community for people to collect, connect, discover, expand, and immerse themselves in the things they love. Since their relaunch in March of 2017, Gemr’s user base has expanded to over 100,000 collectors with a diverse range of interests, due in large part to an aggressive marketing campaign combined with a bi-monthly site and app updates based primarily off of user feedback. Most recently, Gemr has begun an expansion into officially branded club experiences with the launch of the Loot Anime Club, a partnership between the collecting hub and subscription box service Loot Crate.

    In anticipation of the upcoming Batman Day on Sept 23, (with the help of Gemr’s Chief Marketing Officer Chris Gore’s alter-ego @BatChrisGore) Gemr is hosting a giveaway that even Bruce Wayne would love to get his hands on: A Blu-ray Batman ’66 TV series boxed set signed by the original Batman and Robin, Adam West and Burt Ward. All Bat-fans of Batman are eligible to win, provided they click the contest link (below), join Gemr, and join the Batman Club. The lucky winner of what’s guaranteed to be the crown jewel of any Batman collection will be announced Monday evening on Gemr, via email, and via Gemr’s social media accounts.

    The goal really is to create the ultimate community platform for collectors, brands and influencers. Traditional social channels are full of noise, lacking in collector specific features and are taking an ‘all things to all people’ approach, which ends up diluting the experience. We’re built from the ground up to solve problems for collectors, influencers and the brands that they know and love. Gemr Clubs provide a platform for very focused communities around a collecting interest and are packed with features.

    Tom Bennett, CEO

    Gemr is thrilled to pair the giveaway with the official launch of a new user-created club feature, with the most active being the aforementioned Batman Club. Thanks in part to our favorite caped crusader, platform engagement is growing yet again, as users have the ability to create specific clubs based on their personal collecting niche and curate their own communities within Gemr. CEO Tom Bennett chose to prioritize user-created clubs to fill a void left by the generalized approach to collecting from competitor’s sites, as well as the frustration many brands and artists have found in trying to overcome the Facebook algorithm that often necessitates spending a significant amount of money in order to communicate effectively with fans via “boosted” posts. Gemr’s user-created and officially branded clubs are a completely free and uncomplicated way for brands, artists, and creators to stay connected with (and sell to) their followers in a meaningful way — a move that has been very well-received by the Gemr community.

    “The goal really is to create the ultimate community platform for collectors, brands and influencers,” said Bennett. “Traditional social channels are full of noise, lacking in collector specific features and are taking an ‘all things to all people’ approach, which ends up diluting the experience. We’re built from the ground up to solve problems for collectors, influencers and the brands that they know and love. Gemr Clubs provide a platform for very focused communities around a collecting interest and are packed with features. Collectors, influencers and brands are telling us they need and want. With clubs, you create the experience, you control the experience, and you’re not paying for access to the audience you work so hard to build.”

    In addition to the user-created club experience, Gemr has debuted several new features and updates in the past month that have vastly improved and supported the platform experience. They include:

    • “Gemr: Collect It!” extension available in the Chrome web store that allows users to save webpage images to their Gemr collections in a simple Pinterest-reminiscent click.
    • “Nerdlebrity” influencers, including custom lightsaber artist Rob Petkau, doll collector Bu Pias, and Star Wars enthusiasts and YouTube celebrities The Cancrizans, who display their collections and interface with fans and fellow collectors on the site and via YouTube.
    • Gemr CollectorCast podcast on SoundCloud, with host Jeff Tucker tackling a different collector culture each week along with expert guests.

    In addition to these new initiatives, Gemr has also recently launched an official YouTube channel featuring original content for collectors, including weekly shows and special documentary-style spotlights on items and collections of note. Additionally, Gemr is also producing a wealth of independent coverage for collector-focused events such as the recent San Diego Comic-Con International, for which they have over 40 videos on the channel.

    Gemr is a social community and online marketplace (think Facebook meets eBay) for people who love collecting. Launched in 2015, Gemr provides collectors with all the tools they need to easily pursue their collecting passions online. From antiques to vintage and pop-culture collectibles, Gemr is the premier platform for collectors to share what they love. Visit Gemr at Gemr.com.

    Source: Gemr

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  • Young Girls More Likely to Be Interested in Computer Science Careers After Watching YouTube Red Original Series ‘Hyperlinked’

    Young Girls More Likely to Be Interested in Computer Science Careers After Watching YouTube Red Original Series ‘Hyperlinked’

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    New study finds that positive media portrayals of girls who code increase favorable perceptions of computer science careers among viewers

    Press Release


    Sep 1, 2017

    ​​Based on a new study released today, young girls who have seen season one of YouTube Red’s original series Hyperlinked are now 11 percent more likely to be interested in computer science (CS) careers than viewers who have not watched Hyperlinked. Conducted by Thicket Labs, the evaluation study was commissioned by Google and measures the factors that influence girls to choose computer science through a predictive model. The study focuses on the positive impact of Hyperlinked, a YouTube Red original series that shows a cool and diverse group of girls with sharp programming skills solving tech problems and everyday middle school issues.

    Based on study findings, young girls who have seen season one of YouTube Red’s original series Hyperlinked are now 11 percent more likely to be interested in computer science careers than viewers who have not watched Hyperlinked. Watching Hyperlinked is strongly associated with positive perceptions of the field of computer science and encouragement from friends — two of the four major factors that explain a young girl’s decision to pursue computer science.

    It’s crucial for us to work with subject matter experts and leverage various perspectives in order to break down stereotypes and allow underrepresented groups to see themselves reflected in mainstream media. We look forward to creating more favorable perceptions of CS across industries and demographics as we learn from this telling research and evaluation.

    Daraiha Greene, Multicultural Strategy Lead

    “Because of the complex nature of a big decision like choosing a career, a predictive decision model can provide a more accurate measurement of a future choice,” said Deepthi Welaratna, Founder & CEO of Thicket Labs. “The impact of Hyperlinked on the perceptions of its viewers is multifaceted and gives a clear indication of how positive media portrayals of computer science careers and girls who code have the potential to reshape the tech industry in the future.”

    Together with Google’s Computer Science Education in Media team and the Geena Davis Institute on Gender in Media, the series convened an Advisory Council, consisting of: Madeline Di Nonno (CEO, Geena Davis Institute on Gender in Media), Kimberly Bryant (Founder and CEO, Black Girls CODE), Rosalind Wiseman (best selling author of Queen Bees & Wannabees), Jess Weiner (CEO, Talk to Jess LLC) and Michael Cohen Ph.D. (President, Michael Cohen Group LLC [MCG]). This team served as advisers on the series, working with the production team at every stage to make sure that girls in STEM were being portrayed accurately and that the show was modeling positive messages around girls and their relationships with each other.

    “It’s crucial for us to work with subject matter experts and leverage various perspectives in order to break down stereotypes and allow underrepresented groups to see themselves reflected in mainstream media,” said Daraiha Greene from Google’s Computer Science Education in Media team. “We look forward to creating more favorable perceptions of CS across industries and demographics as we learn from this telling research and evaluation.”

    “The positive messages reinforced throughout the series are resonating with the audience and it is our hope that anyone watching ‘Hyperlinked’ leaves inspired by the power of technology and the ways it can make a difference,” said Nadine Zylstra of YouTube Red Originals.

    To evaluate the impact of Hyperlinked on its viewers and test whether the show has the potential to influence underrepresented groups to pursue CS, Google’s Computer Science Education team focused on media and evaluation worked with Thicket Labs to field two surveys before and after its premiere and reached a combined 998 TV viewers, out of which 623 had watched Hyperlinked on YouTube Red. The Thicket Labs evaluation model uses findings from Google’s study Women Who Choose Computer Science-What Really Matters (g.co/cseduresearch) to forecast the long-term impact of social programs on people’s perceptions, attitudes, behaviors, and choices.

    Key findings from the study are available at https://goo.gl/b19VAW. ‘Hyperlinked’ is available for YouTube Red subscribers through YouTube and the YouTube Kids app.

    About Google’s Computer Science Education team

    Google believes that a more inclusive workforce leads to better products for all users, and is especially committed to reversing the negative trends around underrepresented groups in computer science (CS). Part of Google’s Computer Science Education team partners with content creators and entertainment influencers to increase more inclusive portrayals of CS in media content.

    About Thicket Labs

    Thicket Labs is a technology and learning company that helps people learn about themselves and their world through data-driven experiences. Thicket’s collaborative intelligence tools use the science of decision modeling to measure and forecast the short- and long-term impact of social programs on people’s perceptions, attitudes, behaviors, and choices.

    Media Contact: 
    Deepthi Welaratna
    Phone: 415.335.0500
    Email: deepthi@thicketlabs.com

    Source: Thicket Labs

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  • Alex ‘French Guy Cooking’ Releases Final Episode of DIY Winemaking Series

    Alex ‘French Guy Cooking’ Releases Final Episode of DIY Winemaking Series

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    Press Release



    updated: Jul 14, 2017

    Alex, the passionate home cook behind “Alex French Guy Cooking” YouTube channel, has just released the final video of his DIY winemaking series, How To Make F* Wine at Home.

    In this 5 episode series, this Paris-based self-taught cook who achieved YouTube recognition by joining Jamie Oliver’s FoodTube network, is teaching viewers how to make their very own French, fantastic, fancy red wine at home, with cheap and basic equipment.

    From theory to picking the right grapes, crushing, straining, bottling and sipping your very own “cru,” Alex explains it all in his own personal style – enthusiastic, quirky and geeky, with a funny French twist.

    A self-proclaimed “professional amateur,” Alex enjoys experimenting in the kitchen and exploring the science behind food, sharing fun facts and useful tips along the way — a refreshing change from traditional French chefs and picture-perfect food bloggers.

    The latest episode in the series, released Saturday, July 8, focuses on the processes of fining, bottling and, finally, tasting your own wine, with Alex sharing five essential pieces of advice for anyone willing to follow in his footsteps.

    Though the whole process took over 11 months, Alex managed to sum it up in five short and entertaining videos aimed at adventurous amateurs, while providing links to buy all the material needed, to make it even easier for viewers to get started. “My goal in this adventure, like in any series I make, is to show my audience that they can do it. Nothing’s impossible,” he explains.

    And indeed, his videos, beyond food, convey a remarkably empowering message to his international audience. Alex isn’t scared of experimenting, and promotes a healthy culture of trying, failing, learning from your mistakes, and improving as you go along.

    A former advertising and social media professional managing his own agency in Paris, Alex decided to leave his job behind in 2013 to follow his passion and offer viewers a fresh and funny perspective on food. “My job is to show that anybody can cook anything if it’s taught right,” says Alex. “My secret goal is to put a friendlier face on French cuisine.” Four years on, he has developed a 200K strong following and is set to change the way people think about food, and French food in particular.

    Released in five episodes over June and July, the winemaking series is the latest of several French Guy Cooking series aimed at making cooking more fun and accessible, such as the Sourdough Bread Odyssey, Beef Dry-Aging at Home, or the Tartine (French open-faced sandwich) series.

    About Alex French Guy Cooking

    Passionate home cook Alex is a self-taught, Paris-based food fanatic. A bit of a geek, he loves experimenting in the kitchen, sharing fun facts and useful tips along the way. A former advertising and social media executive, he left his job behind to live the YouTube adventure in 2013 and has been growing his channel, Alex French Guy Cooking, ever since, now boasting 200K followers and over 10M views. Committed to changing people’s idea of cooking, Alex uploads fresh and creative content to his channel every week.

    Alex’s YouTube Channel: https://www.youtube.com/user/FrenchGuyCooking

    The Winemaking Series: https://www.youtube.com/playlist?list=PLURsDaOr8hWW9K5MZEIbo_6wHnO-iRdhL

    The final Winemaking episode: https://www.youtube.com/watch?v=oaA1HXvkqFs

    For more information, visit www.frenchguycooking.com

    Contact: Alex +33 6 09 80 88 69 – frenchguycooking@gmail.com

    Source: Alex French Guy Cooking

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