By Nikil Saval : newyorker – excerpt
Uber has become a subsidized alternative to the public-transportation systems that it claims to support.
Last September, Uber rolled out a rebranding campaign. A new television commercial showed car doors being flung open and the young and the old crowding in, flying out, and ending up in a small open-air mercado or at a lake. Though there were a few drivers, the image presented was of ceaseless, liberating mobility for passengers, anywhere in the world. Uber changed its logo, too, to a demure sans-serif display—white against a black background, its only flourish a modest pair of mirrored stems attached to the “U” and the “b.” This was a significant change. Since 2016, the phone app and the stickers that identified Uber-enabled cars had enjoyed an image designed partly by the co-founder and then-C.E.O. Travis Kalanick: a circle bisected with a cord, placed against the background of a colorful tile. When tilted ninety degrees counterclockwise, some design and technology journalists noted, it looked unmistakably like a human bent over and seen from behind.
The era of what has been referred to as Uber’s “asshole” logo happened to coincide with the company’s longest stretch of bad press, including multiple reports of sexual abuse inside the company and by its drivers. In 2017, the company’s investors ousted Kalanick. His successor, Dara Khosrowshahi, has made considerable efforts to improve the company’s image in advance of a likely I.P.O. this year. Last October, Khosrowshahi, like many corporate leaders, pulled out of a summit held by Saudi Arabia’s crown prince, in Riyadh, following the murder of the journalist Jamal Khashoggi. (Uber still benefits from vast infusions of Saudi funding.)… (more)