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Poparazzi hits 5M+ downloads a year after launch, confirms its $15M Series A

Poparazzi, the anti-Instagram social app that hit the top of the App Store last year, is today, for the first time, detailing the growth stats for its business, its future plans and its previously unconfirmed Benchmark-led Series A round. The L.A.-area startup now reports its iOS-only has seen over 5 million installs in its first year, with users primarily in the Gen Z demographic.
The startup says that 75% of its users are between the ages of 14 and 18 and 95% of users are between 14 and 21. Most of its users are U.S. based, and to date, they’ve shared over 100 million photos and videos on the app.
While the startup positioned itself as an Instagram alternative where friends create your profile, the app’s competition today is not really the established tech giants. Instead, it’s the newer set of “alternative” social media apps that are targeting a younger crowd, like Yubo, Locket, LiveIn, HalloApp, BeReal and others. In general, this group of apps shares a thesis around how big tech is no longer the best place to connect with your real-life friends. With differentiated angles, they all claim to offer that opportunity.
Some of these are already outpacing Poparazzi. Yubo says it’s seen 60 million sign-ups to date. BeReal, which has declined press, has an estimated 12.3 million global downloads, according to app intelligence firm Sensor Tower. The firm also reports that Locket has seen about 18.7 million worldwide installs to date, while LiveIn has hit a little more than 8 million installs. (Sensor Tower also sees 4.6 million downloads for Poparazzi, which is largely in line with the startup’s claims, as these estimates aren’t an exact science.)
This heated competition among alternative social apps could explain why Poparazzi is taking to its blog today to share its metrics and confirm its financing after a year of silence. (Or it could be that it’s hiring.)
Image Credits: Poparazzi
Though Poparazzi appears to be an overnight viral sensation, it’s actually taken 3 years to get to this point, explains co-founder and CEO Alex Ma. He, along with his brother, co-founder Austen Ma, went through several pivots to get to Poparazzi, he told TechCrunch.
“Poparazzi was maybe the 11th or 12th app that we built,” Alex says. Among those was the audio social network TTYL, a sort of “Clubhouse for friends.” But, says Alex, 9 months into TTYL the team realized that things weren’t working and they made the decision to wind it down.
The co-founders understood that most social apps fail and had decided the best thing to do was to keep building and experimenting until one hit. At other points, they tested a live texting app called Typo and many other social experiences. But when they built Poparazzi, they knew from day one it was something special. The app blew up, primarily among high schoolers, who were testing the app via TestFlight.
The app’s idea was, effectively, to turn one of Instagram’s core features — photo tagging — into a stand-alone experience. But in its case, photo tagging wasn’t an afterthought; it was the full focus.
Image Credits: Poparazzi
On Poparazzi, users can create social profiles for photo-sharing purposes, but only your friends are allowed to post photos to them. That makes your friends your own “paparazzi,” of sorts — which is how the app got its name.
“It started off almost like a novel, dumb idea — like, what if you could build Instagram but didn’t let people post photos of themselves?” Alex says. “But the more we thought about it, the more we realized we were actually fundamentally changing the engine of what drives social today. And that was the big bet.”
To its credit, Poparazzi perfectly executed a series of growth hacks to generate buzz for its app that drove downloads at launch. The app launched on May 24, 2021, and quickly shot to the No. 1 position on the App Store.

Poparazzi hypes itself to the top of the App Store

Like many apps now, it smartly leveraged the TikTok hype cycle to drive App Store preorders. This helped to ensure the app would hit the Top Charts as soon as it became publicly available, given how the App Store ranks apps based on a combination of downloads and velocity, among other factors. Poparazzi also implemented a clever onboarding screen that used haptics to buzz and vibrate your phone as its intro video played — something that helped generate word-of-mouth growth as users took to Twitter to post about the unique experience.
But the app also bypassed some best practices around user privacy by requesting full access to users’ address books to get started. This allowed it to instantly match users to their friends based on stored phone numbers and quickly build a social graph.
However, it overlooked the fact that many people, particularly women, store the phone numbers of abusers, stalkers and exes in their phone’s contacts, so they can use the phone’s built-in tools to block the person’s calls and texts. Because Poparazzi automatically matched people by phone number, abusers could gain immediate access to the user profiles of the people they were trying to harass or hurt.
Alex says Poparazzi has since taken steps to address this, but explains the thinking around the original decision.
“It’s really hard to compete with Facebook, Snapchat and Instagram for the social graph,” he says. “So the starting point for building a social app typically is the address book because that’s the place where we can get information.” Plus, he adds, “I think the value of the app is close to zero without that initial friend graph.”
Image Credits: Poparazzi
The app also rolled out other new features over the past year, including the ability to block and report users, and it’s invested in machine learning–powered content moderation for detecting things like nudity or hate speech. It’s added the ability to upload from the camera roll; provided support for video, messaging, comments and captions; and introduced in-app challenges that encourage participation — like “pop a friend eating ice cream,” “pop a friend at a mall,” or “pop a road trip.”
It’s now working to allow users to set their profiles to private and is planning an Android version. Longer term, it may monetize via events or merchandise, not ads — but this is still largely to be determined.
Prior to today’s update, the broad strokes of Poparazzi’s A round were already known.
In May 2021, Newcomer scooped the news that Benchmark partner Sarah Tavel had led Poparazzi’s “approximately $20 million” Series A, beating out Andreessen Horowitz for the deal. Alex says the round was actually a $15 million Series A, and confirmed Tavel joined its board.
This is on top of the company’s $2 million seed round closed in late 2018, before Poparazzi was developed. That round was led by Floodgate and included other investors like SV Angel, Shrug Capital and various angels. (Disclosure: unbeknownst to us until now, former TechCrunch co-editor Alexia Bonatsos was among them.) Floodgate’s Ann Miura-Ko joined the board with that fundraiser.
The funding gives Poparazzi, now a team of 15, a runway of over 2 years, Alex says.
And although some of the competition may be ahead of it for now, the startup believes in its potential largely because its premise is unique. Unlike every other social app on the market, it’s not for performative social media.
“We’re very different in the sense that it’s not about yourself,” Alex points out. “We’re putting the attention on the people you’re physically with, and the people that are in your life, rather than on yourself.”
Poparazzi hits 5M+ downloads a year after launch, confirms its $15M Series A

Cooper raises $2M to build a professional network centered on introductions

In a period of social distancing, making new professional connections feels harder than ever. So Amsterdam-based Cooper is building a network that’s all about making and receiving introductions.
“Everything that happens in the network is based on the foundation of introductions,” CEO Robert Gaal told me. “You should never get an unwanted message, and there’s no such thing as a connection request, because it’s not necessary if you have an introduction.”
The startup is launching internationally today and announcing that it has raised $2 million in seed funding.

Gaal (who co-founded the company with CTO Emiel van Liere) described Cooper as “a private professional network that’s not about how many connections do I have, it’s about bringing the people that you already trust into a circle.”
That’s in contrast with existing professional networking sites, which are most useful as “directories” of online résumés, and usually emphasize the quantity of connections, rather than the quality. (I’ll admit that on LinkedIn, I’m connected to a bunch of people I barely know.)
So Cooper tries to take the opposite approach, limiting users’ connections to people they really know. To do this, it can pull data from a user’s online calendar, and it also provides them with a personal invite code that they can share with their professional contacts.

Image Credits: Cooper

Users then post requests or opportunities, which are viewable by their connections and by friends of friends, who can offer to make useful introductions via email or in Cooper itself.
In fact, Gaal said that during the initial beta test, multiple people have successfully used Cooper to find new jobs — sometimes after pandemic-related layoffs, which they’re comfortable sharing with their inner circle but don’t want to broadcast to the world at large.
“There’s more discovery, more trust and you can reinvent other things on top of that — what the résumé is, what mentorship is — if you get trust right first,” he said.
Of course, simply sharing a calendar invite with someone doesn’t really mean you trust them or know them well. Cooper could eventually start looking at other measures that indicate your “connectivity” with someone, like how often you email with them, Gaal said — but the first step is simply recreating the professional circle in which you feel comfortable saying, “Oh, you’re looking for a job? My friend is hiring.”
Yes, those kinds of conversations are already happening offline, but he noted that most of us can only remember “a handful of people” at once. Cooper is making that “marketplace” much more visible and easy to track.
The startup doesn’t sell ads or user data. Instead, Gaal hopes to make money by charging membership fees for features like customizing your profile or promoting your request more broadly.
The startup’s seed funding was led by Comcast Ventures, with participation from LocalGlobe and 468 Capital.
“At a time when the ability to connect is limited, Cooper is building a professional network fostering meaningful and substantive connections,” said Daniel Gulati, founding partner at Forecast Fund and former managing director at Comcast Ventures, in a statement. “We are excited to support the team on their journey ahead.”

Upstream aims to be the new home for your professional social life

Cooper raises $2M to build a professional network centered on introductions

Linktree raises $10.7M for its lightweight, link-centric user profiles

Simple, link-centric user profiles might not sound like a particularly ambitious idea, but it’s been more than big enough for Linktree.
The Melbourne startup says that 8 million users — whether they’re celebrities like Selena Gomez and Dua Lipa or brands like HBO and Red Bull — have created profiles on the platform, with those profiles receiving more than 1 billion visitors in September.
Plus, there are more than 28,000 new users signing up every month.

“This category didn’t exist when we started,” CEO Alex Zaccaria told me. “We created this category.”
Zaccaria said that he and his co-founders Anthony Zaccaria and Nick Humphreys created Linktree to solve a problem they were facing at their digital marketing agency Bolster. Instagram doesn’t allow users to include links in posts — all you get is a single link in your profile, prompting the constant “link in bio” reminder when someone wants to promote something.
Meanwhile, most of Bolster’s clients come from music and entertainment, where a single link can’t support what Zaccaria said is a “quite fragmented” business model. After all, an artist might want to point fans to their latest streaming album, upcoming concert dates, an online store for merchandise and more. A website could do the job in theory, but they can be clunky or slow on mobile, with users probably giving up before they finally reach the desired page.

Linktree founders Anthony Zaccaria, Alex Zaccaria and Nick Humphreys. Image via Linktree.

So instead of constantly swapping out links in Instagram and other social media profiles, a Linktree user includes one evergreen link to their Linktree profile, which they can update as necessary. Selena Gomez, for example, links to her latest songs and videos, but also her Rare Beauty cosmetics brand, her official store and articles about her nonprofit work.
Zaccaria said that after launching the product in 2016, the team quickly discovered that “a lot more people had the same problem,” leading them to fully separate Linktree and Bolster two years ago. Since then, the company hasn’t raised any outside funding — until now, with a $10.7 million Series A led by Insight Partners and AirTree Ventures. (Update: Strategic investors in the round include Twenty Minute VC’s Harry Stebbings, Patreon CTO Sam Yam and Culture Amp CTO Doug English.)
“We had the option to just continue to grow sustainably, but we wanted to pour some fuel on the fire,” Zaccaria said.
In fact, Linktree has already grown from 10 to 50 employees this year. And while the company started out by solving a problem for Instagram users, Zaccaria described it as evolving into a much broader platform that can “unify your entire digital ecosystem” and “democratize digital presence.” He said that while some customers continue to maintain “a giant, brand-immersive website,” for others, Linktree is completely replacing the idea of a standalone website.
Zaccaria added that Instagram only represents a small amount of Linktree’s current traffic, while nearly 25% of that traffic now comes from direct visitors.

Image Credits: Linktree

Black Lives Matter has also been a big part of Linktree’s recent growth, with activists and other users who want to support the movement using their profiles to point visitors to websites where they can donate, learn more and get involved. In fact, Linktree even introduced a Black Lives Matter banner over the summer that anyone could add to their profile.
Linktree is free to use, but you have to pay $6 a month for Pro features like video links, link thumbnails and social media icons.
Zaccaria said that the new funding will allow the startup to add more “functionality and analytics.” He’s particularly eager to grow the data science and analytics team, though he emphasized that Linktree does not collect personally identifiable information or monetize visitor data in any way — he just wants to provide more data to Linktree users.
In a statement, Insight Managing Director Jeff Lieberman said:
As the internet becomes increasingly fragmented, brands, publishers, and influencers need a solution to streamline their content sharing and connect their social media followers to their entire online ecosystem, ultimately increasing brand awareness and revenue. Linktree has successfully created this new “microsite” category enabling companies to monetize the next generation of the internet economy via a single interactive hub. The impressive traction and growing number of customers Linktree has gained over the last few months demonstrates its proven market fit, and we could not be more excited to work with the Linktree team as they transition to the ScaleUp phase of growth.

Tap Bio’s mini-sites solve Instagram’s profile link problem

Linktree raises $10.7M for its lightweight, link-centric user profiles

Dorian raises $3.25M for its no-code, interactive storytelling platform

With Dorian, co-founder and CEO Julia Palatovska said she’s hoping to empower fiction writers and other storytellers to create their own games.
The startup is announcing that it has raised $3.25 million in seed funding led by March Capital Partners, with participation from VGames, Konvoy Ventures, London Venture Partners, Michael Chow (co-creator of the Twitch series “Artificial”), Andover Ventures and talent management company Night Media.
In addition, John Howell, the former vice president of partnerships at Twitch, has joined the board as an independent director.

Palatskova previously worked in gaming as the head of business development at G5 Entertainment, and she said she’d also become entranced by narrative games and interactive fiction. And while there are existing interactive fiction platforms, she saw “an opportunity that I felt was missing,” particularly in the fact that those platforms are “entirely single player, with no opportunity to play and collaborate with other people.”
So she gave me a quick tour of the Dorian platform, showing me how, without coding, a writer can essentially design characters and backgrounds by choosing from a variety of visual assets (and they’ll eventually be able to upload assets of their own), while using a flowchart-style interface to allow the writer to connect different scenes in the story and create player choices. And as Palatskova noted, you can also collaborate on a story in real-time with other writers.
“In terms of writer productivity, I would say there is almost no difference between creating interactive fiction on our engine and just writing fiction,” she said.

Image Credits: Dorian

From what I could see, the resulting games look similar to what you’d find on platforms like Pocket Gems’ Episode, where there aren’t a lot of technical bells and whistles, so the story, dialogue and character choices move to the forefront.
When I brought up the open-source game creation software Twine, Palatskova said Twine is “just a tool.”
“We want to be more like Roblox, both the tools and the distribution,” she said.
In other words, writers use Dorian to create interactive stories, but they also publish those stories using the Dorian app. (The writer still owns the resulting intellectual property.) Palatskova noted that Dorian also provides detailed analytics on how readers are responding, which is helpful not just for creating stories, but also for monetizing via premium story choices.
In fact, Dorian says that in early tests involving around 50,000 players, writers were able to improve monetization by 70% after only one or two iterations. And Palatskova noted that with Dorian’s games — unlike an interactive film such as “Black Mirror: Bandersnatch” —”It’s fast and easy to test multiple branches.”
Dorian is currently invite-only, but the plan is to launch more broadly later this year. Palatskova is recruiting writers with and without gaming experience, but she also expects plenty of successful contributions to come from complete novices. She wants Dorian to be “a completely open platform, like Roblox or Twitch for writers.”
“Dorian’s success in creating an interactive platform that values storytelling while prioritizing monetization for its writers is a game-changer,” said March Capital’s Gregory Milken in a statement. “Julia and her team are creating a community that is primed to capture the attention of today’s influential but underrepresented audiences of diverse content creators.”
Update: An earlier version of this post incorrectly stated that Dorian had raised $3.15 million.

Roblox raises $150M Series G, led by Andreessen Horowitz, now valued at $4B

Dorian raises $3.25M for its no-code, interactive storytelling platform

Serialized fiction startup Radish raises $63.2M from SoftBank and Kakao

Radish is announcing that it has raised $63.2 million in new funding.
Breaking up book-length stories into smaller chapters that are released over days or weeks is an idea that was popularized in the 19th century, and startups have been trying to revive it for at least the past decade. Still, this round represents a major step up in funding, not just for Radish (which only raised around $5 million previously), but also compared to other startups in a relatively nascent market. (Digital fiction startup Wattpad is the notable exception.)
When I first wrote about Radish at the beginning of 2017, the startup was focused on user-generated content. Last year, however, the company launched the Radish Originals program, where Radish is able to produce more content using teams of writers lead by a “showrunner,” and where the startup owns the resulting intellectual property.
“Instead of becoming YouTube or Wattpad for serial fiction, we want to be more like Netflix and create our own originals,” founder and CEO Seungyoon Lee told me. “I got a lot of inspiration from platforms in Korea, China and Japan, where serial fiction is huge and established on mobile.”
One of the ideas Radish took from the Asian markets is rapidly updating its stories. For example, its most popular title, “Torn Between Alphas” (a romance story with werewolves) has released 10 seasons in less than a year, with each season consisting of more than 50 chapters — later seasons have more than 100 chapters — that are released multiple times a day.

Digital publisher Serial Box raises $4.5M

“On Netflix, you can binge-watch three seasons of a show at once,” Lee said. “On Radish, you can binge-read a thousand episodes.”
While Radish borrowed the writing room model from TV — and hired Emmy-winning TV writers, particularly those with a background in soap operas — Lee said it’s also taken inspiration from gaming. For one thing, it relies on micro-payments to make money, with users buying coins that allow them to unlock later chapters of a story (chapters usually cost 20 or 30 cents, and more chapters get moved out from behind the paywall over time). In addition, the company can allow reader taste to determine the direction of stories by A/B testing different versions of the same chapter.
Lee pointed to the fall of 2019 as Radish’s “inflection point,” where the model really started to work. Now, the company says its most popular story has made more than $4 million and has received more than 50 million “reads.” Radish stories are mostly in the genres of romance, paranormal/sci-fi, LGBTQ, young adult, horror, mystery and thriller, and Lee said the audience is largely female and based in the United States.
By raising a big round led by SoftBank Ventures Asia (the early-stage investment arm of troubled SoftBank Group) and Kakao Pages (which publishes webtoons, web novels and more, and is part of Korean internet giant Kakao), Lee said he can take advantage of their expertise in the Asian market to grow Radish’s audience in the U.S. That will mean accelerating content production in the hopes of creating more hit titles, and also spending more on performance marketing.
“With its own fast-paced original content production, Radish is best positioned to become a leading player in the global online fiction market,” said SoftBank Ventures Asia CEO JP Lee in a statement. “Radish has proven that its serialized novel platform can change the way people consume online content, and we are excited to support the company’s continued disruption in the mobile fiction space. Leveraging our global SoftBank ecosystem, we hope to support and accelerate Radish’s expansion across different regions worldwide.”

Backed by author Amy Tan, mobile fiction startup Radish raises $3M

Serialized fiction startup Radish raises $63.2M from SoftBank and Kakao