Fitbit has announced that Fitbit Pay is available for consumers to use at seven major transit systems around the world.
Fitbit also announced it will be part of the Metropolitan Transportation Authority’s (MTA) One Metro New York (OMNY) contactless fare payment pilot program. Any user in New York with Fitbit Charge 3 Special Edition, Fitbit Versa Special Edition and Fitbit Ionic devices will be able to securely and easily tap and pay-per-ride directly from their wrist on select MTA busses and subway lines, providing the convenience to keep their smartphones and wallets tucked away.
Starting May 31, Fitbit users with Fitbit Pay-enabled smartwatches and trackers can tap and pay to board all Staten Island buses, and all stops on the 4, 5 and 6 subway lines between Grand Central and Atlantic Avenue-Barclays Center. This pilot program marks the beginning of a long-term relationship with the MTA, with plans to extend the organization’s OMNY program to the entire subway and bus system by 2021.
“We’re excited to work with Fitbit and others to help us provide added value and everyday convenience to our customers,” said Al Putre, OMNY Executive Director at the MTA. “We are always looking for ways to enhance the transit experience and help New Yorkers and visitors alike get to their destination faster and make payment more convenient, and now they can do so with any Fitbit wearable that supports Fitbit Pay with a simple tap of the wrist.”
In addition to bringing Fitbit Pay to one of the largest and busiest public transit systems in the world with the MTA, Fitbit continues to expand its global transit system capabilities to serve commuters and travelers from all over. Fitbit Pay can now be used across seven open and closed loop transit systems, including Chicago Transit Authority (CTA), Singapore Land Transport Authority (LTA), Sydney transport for New South Wales (NSW) train, ferry and light rail services, Taiwan iPASS, TransLink in Vancouver and Transport for London (TfL), with plans to bring Fitbit Pay to more global transit systems in the future.
“In addition to helping our users get healthier and more active, we’re committed to delivering holistic experiences on our trackers and smartwatches that help keep our 27 million active users engaged,” said James Park, CEO and co-founder of Fitbit. “As we expand the use of Fitbit Pay to work with the MTA and other major transit systems around the globe, we are enabling our on-the-go customers to safely and easily pay for transit with devices that are broadly compatible and have long battery life – all making it easier to go about their day.”
In less than two years, Fitbit Pay is now available in 42 countries and supported by more than 300 of the world’s leading banks and credit unions through American Express,1Mastercard and Visa networks. Through a few quick and easy steps, Fitbit users can add up to six credit or debit cards to their Fitbit Wallet in the Fitbit app on Android or iOS mobile devices. Using the NFC chip built-into select Fitbit smartwatches and trackers, Fitbit Pay users can easily pay for items at millions of stores worldwide wherever contactless payments are accepted.
All Fitbit Pay transactions use an industry standard tokenization platform, ensuring users’ card information is never revealed or shared with merchants or Fitbit. For added security, a protected PIN is chosen by the user during device set-up. Users are also covered by their bank’s fraud protection and continue to enjoy the advantages conferred by their bank or credit card, including guarantees, insurance coverage, points and miles, without having to take out their wallets. For more information about Fitbit Pay, supported banks and transit systems, visit Fitbit.com/Fitbit-Pay.
Spotify hits sweet spot
Streaming has shifted the music industry away from ownership and towards customer experience, writes ARTHUR GOLDSTUCK
Last week marked the end of the beginning of the streaming music revolution. Apple announced the closing of iTunes, the 18-year-old platform that helped shift the music industry from physical to digital. At its height, in 2014, close to a billion people were using it.
However, the business model was still based on traditional ownership of music. Users either converted their physical music into digital tracks, or bought songs from iTunes. Apple founder Steve Jobs said back in 2003, when the iPod music player was launched, that consumers “don’t want to rent their music… They don’t want subscriptions”.
History proved him spectacularly wrong, and when streaming subscriptions services like Spotify and Pandora began taking off, even as iTunes hit the 800-million user mark, the company launched Apple Music in a dramatic acknowledgment that subscriptions were the future. It was also an admission that iTunes, which had also become a download service for movies and TV shows, had become top-heavy and frustrating to use.
Apple’s late arrival in the streaming world has cost it: In January this year, Apple Music reached 50-million subscribers – exactly half the number paying monthly subs to Spotify.
Spotify took South African music by storm when it launched here in March 2018, thanks to close collaboration with local artists. It has a dedicated South African team that creates playlists for South Africans, in genres that appeal to local audiences. It also has a local ad sales team, and achieved early success with automotive brands like BMW and Mini using the platform extensively.
The company does not break down user statistics by country but, says Claudius Boller, managing director for Middle East and Africa, uptake exceeded all expectations.
“It’s been an amazing year,” he told Business Times. “Engagement in South Africa has crossed the world average. Users are extremely active, lean forward, and engage with playlists on a daily basis. We are not running many campaigns to move people from our free service to the Premium offering, but people do it right away.
“The metric we look at is how often and how long people use Spotify on average per day, and we have already seen those on premium subscriptions using Spotify much more than Facebook per day.”
The South African audience has another key differentiator, says Boller: “The market is extremely loyal. We know other music services have been in the market for many years. But when people make up their minds to try Spotify, they fall in love with it and continue to use it. The drop-off rate of people using our service is one of the lowest of all the markets in which Spotify operates.”
One of the secrets of Spotify’s success is the close relationship it builds with what it calls “the creative community” – both artists and labels.
“They are extra engaged, because of the data they are able to get. We give them a huge amount of data in a way that is very easy to digest. Through Spotify for Artists, they can see in real time how many listeners they have, their demographics, where they are listening, and where their audience is growing. If Jeremy Loops is doing very well in Australia, he can adjust where to promote his music and how to plan his touring schedule.
“We also use that data to work more closely with the creative community. We bring artists, labels and managers together for educational events so that they can get to know how to use the data. We give them practical advice, for example that they should release music on the same day on all platforms, including radio and streaming services, to maximise monetisation.”
Music entrepreneur Siya Metane agrees that audience data is one of the greatest benefits of streaming music. Better known as Slikour, founding member of the legendary hip hop group Skwatta Kamp, he now runs SlikourOnLife, an online urban music site and community with well over a million regular users. Understanding user trends has been at the heart of the growth of the platform, and he believes Spotify and its competitors add yet another dimension.
“The analytics that the streaming platforms provide give artists more insight of where their music is being consumed,” he says. “It is therefore giving the artists and their managers insight on where to invest nationally or globally. Such information has not been readily available to artists and managers before. Historically, everything was based on the physical purchase of a copy in a region – most of the time locally.”
But there is a downside, he says: “The cost of the streaming sacrifice is losing a whole R100 per album to a streaming company that pays you based on their pro rata plays on their service. Therefore only a few people can benefit. But streaming has definitely shifted the business from music alone to everything else music can influence.”
Both Vodacom and MTN have recognised the potential of streaming music to add value to their services, which are becoming increasingly commoditised. MTN late last year bought the local music streaming service Simfy Africa, and Vodacom in April this year launched its own streaming music service, called My Muze. The latter invites aspiring musicians to upload their music, with the possibility of being discovered and signed to a music label.
“The music industry has changed rapidly in recent times in that everything now lives digitally,” says Rehana Hassim, portfolio manager for music at Vodacom. “We also hope to attract new young consumers, to whom music remains one of the biggest passion points, providing various ways to engage with and consume the music they love.”
AI reveals SA domestic abuse trends
Digital abuse, infidelity, and alcohol abuse are emerging as common conversation topics between victims of domestic violence in South Africa and rAInbow, an artificial intelligence-powered smart companion.
Developed with funding partner, Sage Foundation, and social justice organisation, The Soul City Institute, rAInbow allows users to ‘chat’ to a non-human over Facebook Messenger. It provides a safe space for domestic violence victims to access information about their rights, support options, and where they can find help – in friendly, simple language.
When we launched rAInbow in November last year, we didn’t expect that it would facilitate over 200,000 conversations with 7,000 users – 150,000 of those within the first three months of launch. One of the reasons we believe Artificial Intelligence (AI) can fill a gap in victim support is because many victims are uncomfortable talking to another person about their experience – due largely to social and cultural taboos, embarrassment, and shame.
The data gathered from anonymised rAInbow conversations** providesinvaluable insight into this complex issue; insight that we can use to improve our communication and prevention strategies.
Digital abuse: Behind the screens
Around 30% of rAInbow users believe it’s acceptable for their partners to check their phones and to insist on knowing who they’re talking to at all times.
Yet this constitutes a form of verbal and/or emotional abuse because abusers exploit technology and social media to monitor, control, shame, stalk, harass, and intimidate their victims. In conversations with rAInbow, many victims reveal that they don’t know what constitutes digital abuse because they can’t recognise the signs.
You could be a victim of digital abuse if your partner demands to know your passwords and who you’re talking to, reads your messages, and dictates who you can be friends with on social media.
The bottom line is, when you’re in a relationship, all communication with your partner – be it digital or face-to-face – should be respectful. You should never feel pressured into doing anything you’re uncomfortable with.
Infidelity: Is cheating really abuse?
Infidelity emerged as one of the main challenges facing rAInbow users in abusive relationships. In such cases, the cheating partner usually blames you for his/her cheating, does it intentionally to hurt you, or threatens to cheat again to control you. Infidelity is often accompanied by lying, manipulation, and blame-shifting – all recognised abusive behaviours.
Technology has exacerbated the problem. It’s now easier to access dating sites, pornography, and chat platforms, facilitating behaviour like ‘sexting’, which some people may consider infidelity.
‘Alcohol made me do it’
Alcohol and drugs are common triggers for violent episodes, with rAInbow users saying their partners were more likely to lash out at them verbally or physically after they’d been drinking. While alcohol itself doesn’t cause domestic violence, it can aggravate already tense situations.
Alcohol impairs people’s judgement and behaviour, to the point where they may lose control and become aggressive, short-tempered, and abusive. In most situations, the abusive partner will blame the alcohol for their actions and may not remember what they did or said the next day. The abused partner, however, has to live with the memories and after-effects of the abuse.
In his State of the Nation Address earlier this year, President Cyril Ramaphosa said violence against women and children has reached “epidemic proportions” and that ending abuse would be made an urgent national priority. Corporates, NGOs, and ordinary citizens also have a responsibility to end the scourge.
Technology like rAInbow provides the vital information needed to start driving radical change – at policy and societal level. The conversations that rAInbow is having with users is making us think differently about how to approach this issue. It’s apparent that we need targeted, personalised education drives that help victims identify abuse and explain how and where to get help. It’s also apparent that there’s a strong need for information that can be accessed in a safe, anonymous, and non-judgemental space.
We need to use the aggregated data that’s available to us to make better decisions about action plans and strategies. Solutions like rAInbow can provide governments with the information they need to tackle abuse.
To find out how you can contribute to the rAInbow project, e-mail email@example.com.
** All conversational data is anonymised. It is used to improve rAInbow and help organisations make better decisions about where to focus their efforts to combat abuse.