What Nokia should do next

Rather than mimicking Apple or Samsung smartphones in North America and Europe, Nokia should look through its archives - and to its success in Africa - for inspiration.

In the end, I decommissioned my £10 Nokia 1100 out of vanity three years ago. It had survived countless mishaps, including one memorable death-defying dive into a cup of hot tea. Unlike my iPhone, its battery could trundle along for at least a week and no app could be more useful than its built-in torch during a power cut.
 
After Microsoft announced its purchase of Nokia’s mobile phone business for £4.7bn on 3 September, analysts made much of the Finnish firm’s struggles to compete with Samsung and Apple in the smartphone market. But what if, rather than focusing on its weaknesses, the phone giant had the confidence to play to its strengths? Nokia is still the market leader in emerging economies, especially across Africa. The Nokia 1100 was one of the world’s bestselling phones, with a quarter of a billion sold globally, and these cheap, reliable handsets continue to transform the way some of the world’s poorest people live and work.
 
There are now more mobile phone users in Africa than in North America or Europe, the World Bank reported in 2012, but unlike in developed economies there’s still plenty of room for growth. World Bank figures also show that market saturation varies from 28, 38 and 48 mobile phone subscribers per 1,000 people in Eritrea, the Central African Republic and Ethiopia, respectively, to 1,049.2 per 1,000 in the Seychelles. Phone-makers may have to expect low margins when selling to some of the poorest, but there is money to be made in low-cost, highvolume goods.
 
Nokia’s sturdy feature phones don’t attract the same hype as the latest Apple product but African consumers make considerable sacrifices for their mobile phones. According to research conducted by iHub, a Nairobi-based tech community, phone users in Kenya are willing to forgo meals, or walk home instead of taking the bus, to save for phone credit. Phones such as the Nokia 1100 are comparatively low-tech but across emerging economies they have proved arguably more valuable, and certainly more transformative, than any other modern tech gadget.
 
For millions of Africans without bank accounts, mobile money transfer companies such as Kenya’s M-Pesa are overhauling the way many do business and are plugging gaps in the continent’s weak financial infrastructure. The research firm Gartner predicts that mobile payments will rise to $235.4bn by 2013 – and even my old Nokia can be used to transfer funds. Volatile currencies, repressive financial regulation and low bank penetration have led to mobile phone minutes being used as currency in African countries as diverse as Egypt, Nigeria and Zimbabwe.
 
Mobile phones are being used in all sorts of innovative ways, whether by offering crop insurance to Kenyan farmers via M-Pesa, or linking health workers in rural Mali to health-care experts to assist in proper diagnosis.
 
Even in Africa, demand for the Nokia 1100 won’t last. The company’s sales across the continent are declining. Nokia’s challenge now is to use its market clout to lead the way in low-cost smartphones designed for the African market, and its competitors aren’t just Apple and Samsung, but home-grown African companies such as Mi-Fone, headquartered in Mauritius.
 
Perhaps, rather than mimicking Apple or Samsung smartphones, Nokia should look through its archives for inspiration – a long battery life and sturdy design will be essential to a bestselling, lowcost smartphone, and a built-in torch would be wonderful.
Relics from another age: discarded Nokia mobile phones. Image: Getty

Sophie McBain is a freelance writer based in Cairo. She was previously an assistant editor at the New Statesman.

This article first appeared in the 16 September 2013 issue of the New Statesman, Syria: The deadly stalemate

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Lol enforcement: meet the man policing online joke theft

A story of revenge, retweets, and Kale Salad. 

A man walks into a bar and he tells a joke. The man next to him laughs – and then he tells the same joke. The man next to him, in turn, repeats the joke. That bar’s name is Twitter.

If you’ve been on the social network for more than five minutes, you’ll notice that joke theft is rampant on the site. Search, for example, for a popular tweet this week (“did everyone just forget about the part of 2016 when literal clowns would chase people with knives in public and nobody really did anything” – 153,000 retweets) and you’ll see it has been copied 53 times in the last three days.

One instance of plagiarism, however, is unlike the others. Its perpetrator is the meme account @dory and its quick Ctrl+C, Ctrl+V has over 3,500 retweets. This account frequently copies the viral posts of Twitter users and passes them off – word for word – as its own. Many similar accounts do the same, including @CWGirl and @FatJew, and many make money by promoting advertising messages to their large number of followers. Twitter joke theft, then, is profitable.

In 2015, Twitter promised to clamp down on the unchecked plagiarism on its site. “This Tweet from [user] has been withheld in response to a report from the copyright holder,” read a message meant to replace stolen jokes on the site. It’s likely a message you’ve never seen.

Dissatisfied with this solution, one man took it upon himself to fight the thieves. 

“I'm a like happy internet kind of guy,” says Samir Mezrahi, a 34-year-old from New York who runs the Twitter account @KaleSalad. For the last six months, Mezrahi has used the account to source and retweet the original writers of Twitter jokes. Starting with a few hundred followers at the end of December 2016, Mezrahi had jumped to 50,000 followers by January 2017. Over 82,000 people now follow his account.  

“I've always been a big fan of like viral tweets and great tweets,” explains Mezrahi, over the sound of his children watching cartoons in the background. “A lot of people were fed up with the meme accounts so it’s just like a good opportunity to reward creators and people.”

Samir Mezrahi, owner of @KaleSalad

I had expected Mezrahi to be a teen. In actual fact he is a father of three and an ex-Buzzfeed employee, who speaks in a calm monotone, yet is enthusiastic about sharing the best content on Twitter. Though at first sourcing original tweets for Kale Salad was hard work, people now approach Mezrahi for help.

“People still reach out to me looking for vindication and just that kind of, I don’t know, that kind of acknowledgement that they were the originals. Because all so often the meme accounts are much larger and their tweets do better than the stolen tweet.”

But just why does having a tweet stolen suck so much? In the grand scheme of things, does it matter? Did everyone just forget about the part of 2016 when literal clowns would chase people with knives in public and nobody really did anything?

Meryl O’Rourke is a comedian and writer who tweets at @MerylORourke, and now has a copyright symbol (©) after her Twitter name. In the past she has had her jokes stolen and reposted, unattributed, on Facebook and Twitter and hopes this symbol will go some way to protecting her work.

“It’s hard to explain how it felt... as a struggling writer you’re always waiting for anything that looks like recognition as it could lead to your break,” she explains. “When your work gains momentum you feel like your opportunity ran off without you.

“Twitter is a test of a writer’s skill. To spend time choosing exactly the right words to convey your meaning with no nuance or explanation, and ensure popularity and a chuckle, in the space of only 140 characters – that’s hard work.”

However, Mezrahi has found not everyone is bothered by their tweets being stolen. I found the same man I reached out to with a stolen tweet who said he didn’t want to speak to me because it felt too “first world problems” to complain. Writers like O’Rourke are naturally more annoyed than random teenagers, who Mezrahi says are normally actually pleased about the theft.

“If you go to [a teenager’s] timeline it’s always the same thing. They’re replying to all their friends saying like ‘I’m famous’, they’re retweeting the meme accounts saying like ‘I did it’… they don’t mind as much it seems. It’s kind of like a badge of honour to them.”

Sometimes, people even ask Kale Salad to unretweet their posts. College students with scholarships, in particular, might not actually want to go viral – or some viral tweets may accidentally include personal information. On the whole, however, people are grateful for his work.

Yet the Kale Salad account does have unintended consequences. Mezrahi has now been blocked by the major meme accounts that frequently steal jokes, meaning he had to create alternate accounts to view their content. But just because he can’t see them doesn’t mean they don’t see him – and he has noticed that these accounts now actually come to his profile to steal jokes he has retweeted, in a strange role-reversal.

“There are definitely times when they're picking up things that I just retweeted, like I know they're like looking at me too,” he says. “It feels like vindicated or validated that they come to me.”

Mezrahi now works in social media on a freelance basis, but would be open to making Kale Salad profitable. Earlier this year he set up an account on Patreon – a site that allows fans to pay their favourite creators. Some people didn’t approve of this, tweeting to say he is “just retweeting tweets”. So far, Mezrahi has three patrons who pay him $50 (£39) a month.

“I mean I spend a certain amount of time on this and I think it’s a pretty good service, so I've been thinking about monetisation and thought that might be a route,” he explains. He believes he is providing an important service by “amplifying” creators, and he didn’t want to make money in less transparent ways, such as by posting sponsored advertisements on his account. Yet although many online love Kale Salad, they don’t, as of yet, want to pay him.

“Twitter should buy my account because I’m doing a good thing that people like every day,” he muses.

Many might still be sceptical of the value of a joke vigilante. For those whose jokes aren’t their bread or butter, tweet theft may seem like a very minimal problem. And although it arguably is, it’s still incredibly annoying. Writing in Playboy, Rob Fee explains it best:

“How upsetting is it when you tell a joke quietly in a group of friends, then someone else says it louder and gets a huge laugh? Now imagine your friend following you every day listening for more jokes because people started throwing money at him every time he repeated what you said. Also, that friend quit his job because he made enough to live comfortably by telling your jokes louder than you can. Odds are, you’d quickly decide to find new friends.”

For now, then, Kale Salad will continue his work as the unpaid internet police. “As long as people like the service, I don’t mind doing it. If that's a year or two years or what we'll see how the account goes,” he says.

“Twitter is fun and I like the fun days on the internet and I like to help contribute to that.

“The internet is for fun and not all the sadness that’s often there.”

Amelia Tait is a technology and digital culture writer at the New Statesman.

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