Roku debuts new Streaming Stick 4K bundles, software update with voice and mobile features

Weeks after Amazon introduced an updated Fire TV lineup that included, for the first time, its own TVs, Roku today is announcing its own competitive products in a race to capture consumers’ attention before the holiday shopping season. Its updates include a new Roku Streaming Stick 4K and Roku Streaming Stick 4K+ — the latter which ships with Roku’s newer hands-free voice remote. The company is also refreshing the Roku Ultra LT, a Walmart-exclusive version of its high-end player. And it announced the latest software update, Roku OS 10.5, which adds updated voice features, a new Live TV channel for home screens, and other minor changes.

The new Streaming Stick 4K builds on Roku’s four-year-old product, the Streaming Stick+, as it offers the same type of stick form factor designed to be hidden behind the TV set. This version, however, has a faster processor which allows the device to boot up to 30% faster and load channels more quickly, Roku claims. The Wi-Fi is also improved, offering faster speeds and smart algorithms that help make sure users get on the right band for the best performance in their homes where network congestion is an increasingly common problem  — especially with the pandemic-induced remote work lifestyle. The new Stick adds support for Dolby Vision and HDR 10+, giving it the “4K” moniker.

This version ships with Roku’s standard voice remote for the same price of $49.99. For comparison, Amazon’s new Fire TV Stick Max with a faster processor and speedier Wi-Fi is $54.99. However, Amazon is touting the addition of Wi-Fi 6 and support for its game streaming service, Luna, as reasons to upgrade.

Roku’s new Streaming Stick 4K+ adds the Roku Voice Remote Pro to the bundle instead. This is Roku’s new remote, launched in the spring, that offers rechargeability, a lost remote finder, and hands-free voice support via its mid-field microphone, so you can just say things like “hey Roku, turn on the TV,” or “launch Netflix,” instead of pressing buttons. Bought separately, this remote is $29.99. The bundle sells for $69.99, which translates to a $10 discount over buying the stick and remote by themselves.

Image Credits: Roku

Both versions of the Streaming Stick will be sold online and in stores starting in October.

The Roku Ultra LT ($79.99), built for Walmart exclusively, has also been refreshed with a faster processor, more storage, a new Wi-Fi radio with up to 50% longer range, support for Dolby Vision, Bluetooth audio streaming, and a built-in ethernet port.

Plus, Roku notes that TCL will become the first device partner to use the reference designs it introduced at CES for wireless soundbars, with its upcoming Roku TV wireless soundbar. This device connects over Wi-Fi to the TV and works with the Roku remote, and will arrive at major retailers in October where it will sell for $179.99.

The other big news is Roku’s OS 10.5 software release. The update isn’t making any dramatic changes this time around, but is instead focused largely on voice and mobile improvements.

The most noticeable consumer-facing change is the ability to add a new Live TV channel to your home screen which lets you more easily launch The Roku Channel’s 200+ free live TV channels, instead of having to first visit Roku’s free streaming hub directly, then navigate to the Live TV section. This could make the Roku feel more like traditional TV for cord-cutters abandoning their TV guide for the first time.

Other tweaks include expanded support for launching channels using voice commands, with most now supported; new voice search and podcast playback with a more visual “music and podcast” row and Spotify as a launch partner; the ability to control sound settings in the mobile app; an added Voice Help guide in settings; and additional sound configuration options for Roku speakers and soundbars (e.g. using the speaker pairs and soundbar in a left/center/right) or in full 5.1 surround sound system).

A handy feature for entering in email and passwords in set-up screens using voice commands is new, too. Roku says it sends the voice data off-device to its speech-to-text partner, and the audio is anonymized. Roku doesn’t get the password or store it, as it goes directly to the channel partner. While there are always privacy concerns with voice data, the addition is a big perk from an accessibility standpoint.

Image Credits: Roku

One of the more under-the-radar, but potentially useful changes coming in OS 10.5 is an advanced A/V sync feature that lets you use the smartphone camera to help Roku make further refinements to the audio delay when using wireless headphones to listen to the TV. This feature is offered through the mobile app.

The Roku mobile app in the U.S. is also gaining another feature with the OS 10.5 update with the addition of a new Home tab for browsing collections of movies and shows across genres, and a “Save List, which functions as a way to bookmark shows or movies you might hear about — like when chatting with friends — and want to remember to watch later when you’re back home in front of the TV.

The software update will roll out to Roku devices over the weeks ahead. It typically comes to Roku players first, then rolls out to TVs.

#amazon, #amazon-fire-tv, #apple-tv-app, #computing, #digital-media-players, #ethernet, #gadgets, #hardware, #internet-radio, #internet-television, #luna, #media, #mobile, #netflix, #now, #roku, #smartphone, #speaker, #spotify, #telecommunications, #united-states, #voice-search, #walmart, #wi-fi, #wireless-headphones, #wireless-soundbar

How Putin’s Propaganda System Keeps Him in Power

The Kremlin’s propaganda system, lurid and spurious, is central to the president’s power. 

#elections, #media, #navalny-aleksei-a, #news-and-news-media, #propaganda, #putin-vladimir-v, #russia

WarnerMedia’s Andy Forssell will discuss HBO Max at Disrupt 2021

In May 2020, WarnerMedia launched HBO Max into a crowded streaming landscape. In spite of early struggles, the timing couldn’t have been better. When the world was stuck at home, struggling to find new sources of entertainment amid a global pandemic, HBO’s latest attempt at an app-based platform rose in the ranks alongside fellow newly launched service, Disney+.

The platform builds on HBO’s much-loved original prestige programming, while taking advantage of a day and date approach to streaming films, which many studios have opened up to amid worldwide theater shutdowns. In particular, its sister studio Warner Bros. has premiered a number of big-budget films on the service — including “Wonder Woman 1984” and “Space Jam: A New Legacy” — as the pandemic has shown no sign of slowing.

The past year has brought plenty of channels for the service, as well. Not everyone is thrilled about the pandemic trend of bypassing the theater. Sopranos creator David Chase was recently quoted as being “extremely angry” about the HBO Max release of the prequel — news that followed Scarlett Johansson’s lawsuit against Disney over its own streaming release of “Black Widow.” The company has evolved strategies, removing its offering from Amazon Prime Channels and adding a lower-cost ad-based tier to Max.

WarnerMedia EVP and head of business operations for HBO Max Andy Forssell will be joining us at our virtual TechCrunch Disrupt next week on September 21-23 to discuss the service’s launch during a turbulent time, as well as what the future holds for the app, and video streaming in general. Prior to joining WarnerMedia in 2019, Forssell served as the COO of Otter Media and Fullscreen, Inc. and was the acting CEO and SVP of Hulu.

Disrupt starts next week. Get your ticket now for less than $100 before the price goes up in a few short days.

#andy-forssell, #events, #media, #streaming-services, #tc, #tc-disrupt-2021, #warnermedia

Google’s R&D division experiments with newsletters powered by Google Drive

Following entries into the newsletter market from tech companies like Facebook and Twitter, Google is now experimenting with newsletters, too. The company’s internal R&D division, Area 120, has a new project called Museletter, which allows anyone to publish a Google Drive file as a blog or newsletter to their Museletter public profile or to an email list.

The effort would essentially repurpose Google’s existing document-creation tools as a means of competing with other newsletter platforms, like Substack, Ghost, Revue, and others, which are today attracting a growing audience.

Google’s experiment was spotted this week by sites including 9to5Google and Android Police.

Reached for comment, an Area 120 spokesperson declined to share further details about Museletter, saying only that it was “one of the many experiments” within the R&D group and that “it’s still very early.”

From the Museletter website, however, there is already much that can be learned about the project. The site explains how Google Drive could be monetized by creators in a way that would allow Google’s newsletter project to differentiate itself from the competition. Not only could newsletters be written in a Google Doc, other productivity apps could also be used to share information with readers. For example, a newsletter creator could offer a paid subscription plan that would allow readers to access their Google Slides. A creator who writes about finance could publish helpful spreadsheets to Google Sheets, which would be available to their subscribers.

Image Credits: Google

To make this possible, Museletter publishers would create a public profile on their Google Drive, then publish any Google Drive file directly to it. This provides them with a landing page where they can market their subscriptions and showcase how many different Drive files they’ve made publically available across Docs, Sheets, and Slides.

Creators can also optionally publish to an email list — including a list brought in from other platforms. The newsletter subscriptions can be free or paid, depending on the creator’s preferences, but using Museletter itself will be free. Instead, the project aims to monetize with premium features like custom domains, welcome emails, and more.

The platform also promises tools and analytics to engage audiences and track the newsletter’s performance.

While the site doesn’t mention any plans for advertising, a success in this space could provide Google with a new ad revenue stream — and one that arrives at a time when the tech giant’s multi-billion dollar advertising market has a new challenger in the form of Amazon, whose own ad business could eventually challenge the Facebook-Google duopoly.

Google didn’t say when it plans to launch Museletter, but the website is offering a link to a form where users can request early access.

#amazon, #android, #area-120, #computing, #creators, #finance, #google, #google-sheeets, #google-slides, #google-docs, #google-drive, #media, #news, #newsletter, #newsletters, #publish, #publishers, #rd, #substack, #world-wide-web

News aggregator SmartNews raises $230 million, valuing its business at $2 billion

SmartNews, a Tokyo-headquartered news aggregation website and app that’s grown in popularity despite hefty competition from built-in aggregators like Apple News, today announced it has closed on $230 million in Series F funding. The round brings SmartNews’ total raise to date to over $400 million and values the business at $2 billion — or as the company touts in its press release, a “double unicorn.” (Ha!)

The funding included new U.S. investors Princeville Capital and Woodline Partners, as well as JIC Venture Growth Investments, Green Co-Invest Investment, and Yamauchi-No.10 Family Office in Japan. Existing investors participating in this round included ACA Investments and SMBC Venture Capital.

Founded in 2012 in Japan, the company launched to the U.S. in 2014 and expanded its local news footprint early last year. While the app’s content team includes former journalists, machine learning is used to pick which articles are shown to readers to personalize their experience. However, one of the app’s key differentiators is how it works to pop users’ “filter bubbles” through its “News From All Sides” feature, which allows its users to access news from across a range of political perspectives.

It has also developed new products, like its Covid-19 vaccine dashboard and U.S. election dashboard, that provide critical information at a glance. With the additional funds, the company says it plans to develop more features for its U.S. audience — one of its largest, in addition to Japan —  that will focus on consumer health and safety. These will roll out in the next few months and will include features for tracking wildfires and crime and safety reports. It also recently launched a hurricane tracker.

The aggregator’s business model is largely focused on advertising, as the company has said before that 85-80% of Americans aren’t paying to subscribe to news. But SmartNews’ belief is that these news consumers still have a right to access quality information.

In total, SmartNews has relationships with over 3,000 global publishing partners whose content is available through its service on the web and mobile devices.

To generate revenue, the company sells inline ads and video ads, where revenue is shared with publishers. Over 75% of its publishing partners also take advantage of its “SmartView” feature. This is the app’s quick-reading mode, and alternative to something like Google AMP. Here, users can quickly load an article to read, even if they’re offline. The company promises publishers that these mobile-friendly stories, which are marked with a lightning bolt icon in the app, deliver higher engagement — and its algorithm rewards that type of content, bringing them more readers. Among SmartView partners are well-known brands like USA Today, ABC, HuffPost, and others. Currently, over 70% of all SmartNews’ pageviews are coming from SmartView first.

SmartNews’ app has proven to be very sticky, in terms of attracting and keeping users’ attention. The company tells us, citing App Annie July 2021 data, that it sees an average time spent per user per month on U.S. mobile devices that’s higher than Google News or Apple News combined.

Image Credits: App Annie data provided by SmartNews

The company declined to share its monthly active users (MAUs), but had said in 2019 it had grown to 20 million in the U.S. and Japan. Today, it says its U.S. MAUs doubled over the last year.

According to data provided to us by Apptopia, the SmartNews app has seen around 85 million downloads since its October 2014 launch, and 14 million of those took place in the past 365 days. Japan is the largest market for installs, accounting for 59% of lifetime downloads, the firm noted.

“This latest round of funding further affirms the strength of our mission, and fuels our drive to expand our presence and launch features that specifically appeal to users and publishers in the United States,” said SmartNews co-founder and CEO Ken Zuzuki. “Our investors both in the U.S. and globally acknowledge the tremendous growth potential and value of SmartNews’s efforts to democratize access to information and create an ecosystem that benefits consumers, publishers, and advertisers,” he added.

The company says the new funds will be used to invest in further U.S. growth and expanding the company’s team. Since its last fundraise in 2019, where it became a unicorn, the company more than doubled its headcount to approximately 500 people globally. it now plans to double its headcount of 100 in the U.S., with additions across engineering, product, and leadership roles.

The Wall Street Journal reports SmartNews is exploring an IPO, but the company declined to comment on this.

The SmartNews app is available on iOS and Android across more than 150 countries worldwide.

#aca-investments, #aggregation, #ai, #android, #apple-news, #apps, #funding, #google, #google-news, #japan, #machine-learning, #media, #mobile, #mobile-applications, #mobile-devices, #mobile-software, #new-aggregator, #news, #news-aggregation, #news-reading, #recent-funding, #smartnews, #software, #startups, #tokyo, #united-states

YouTube TV expands its live TV service with more Spanish-language networks

Google’s streaming TV service, YouTube TV, announced today it’s adding more Spanish-language networks to its base membership package and is preparing to launch an add-on package that will include even more Spanish-language content. Starting today, all subscribers will gain access to three new TV networks at no additional cost: Univision, UniMás, and Galavisión. These will join YouTube TV’s existing lineup of over 85 live TV channels, which today include top networks like Fox, ABC, CBS, NBC, PBS, and others, in addition to entertainment networks like those from Discovery and ViacomCBS.

The additions will bring to YouTube TV members a range of new Spanish-language content, including primetime series like “La Desalmada” and “Vencer El Pasado” arriving this fall, reality competition series “Nuestra Belleza Latina” on September 26, plus the 22nd Annual Latin Grammy Awards on November 18. The additions also bring sports programming like the Campeones Cup on September 29, and ongoing match-ups from Liga MX, UEFA Champions League, MLS, and the Mexican National Team, the company says.

Univision also noted that subscribers in top Hispanic markets, including Los Angeles, New York, Miami, Houston, Dallas, Chicago, and others, will be able to access Univision and UniMás’ local news, weather, and other programming. Plus, YouTube TV will carry Univision’s video-on-demand content library at launch, and subscribers will be able to use their YouTube TV credentials to authenticate with the company’s “TV everywhere”-powered Univision app.

The companies did not disclose the financial terms of their new agreement, but the deal hasn’t come with a price increase. YouTube TV, however, has been steadily hiking prices since its debut. It increased the service’s pricing to $64.99 last summer, following the new additions of 14 ViacomCBS networks, for example. But last month, YouTube Chief Product Officer Neal Mohan said there would be no new price increases in the near-term.

While the new channels will reach all subscribers, YouTube TV also announced plans to introduce a new add-on package that will be available for an additional monthly cost. This will include other Spanish-language networks like Sony Cine, CNN Español, Discovery en Español, Estrella TV, Cinelatino, Fox Deportes, and others. YouTube TV is not yet sharing the full lineup nor the price of the add-on just yet, but said it would offer more details in the “coming months.”

The Spanish-language network Pantaya will also be offered in the weeks ahead for an additional $5.99 per month, providing access to Spanish-language movies and exclusive original series, all of which are on-demand.

“We are delighted to partner with YouTube TV to expand Univision’s robust portfolio of networks and stations to include YouTube TV,” said Hamed Nasseri, Univision Vice President, Content Distribution, in a statement. “Amid the popularity of streaming services as well as the growing influence of our Hispanic community, this is an important step to ensure that our audience has access to our leading Spanish-language news, sports, and entertainment wherever they consume content. We are excited for today’s launch and recognize YouTube TV’s continued commitment to serving our growing and influential Hispanic audience.”

YouTube TV is not the first streamer to cater to an audience looking for Spanish-language content. In 2018, Hulu added its own Spanish-language bundle called ‘Español,’ which now gives subscribers live programming from networks including ESPN Deportes, NBC Universo, CNN En Español, History Channel En Español, Discovery en Español, and Discovery Familia. Hulu, however, doesn’t carry Univision but does offer Telemundo. Fubo TV, meanwhile, offers Univision and Telemundo and provides an Español plan with dozens of Spanish-language channels.

If anything, YouTube TV had been behind in terms of catering to Spanish speakers until now, and this offering will make it more competitive with rival services.

 

#champions-league, #chicago, #companies, #dallas, #houston, #hulu, #la, #los-angeles, #mass-media, #media, #miami, #mls, #neal-mohan, #new-york, #partner, #services, #sony, #streaming-services, #telemundo, #television, #univision, #youtube, #youtube-tv

Spotify’s Clubhouse clone adds six new weekly shows, some that tie to Spotify playlists

This summer, Spotify launched its live audio app and Clubhouse rival, Spotify Greenroom, with the promises of more programming to come in the months ahead to augment its then primarily user-generated live content. Today, the company is making good on that earlier commitment, with the launch of six new shows on Spotify Greenroom focused on pop culture and music, in addition to what Spotify calls “playlist-inspired shows” — meaning those that are inspired by Spotify’s own playlists.

This includes a new show based on the popular playlist Lorem, which launched in 2019, showcasing an eclectic mix of music that has included indie pop, R&B, garage rock, hip-hop, and more, focused on a younger, Gen Z audience. That playlist today has over 884,000 “likes” on Spotify and has risen to become one of the places new artists are able to break through on the platform. Now, Lorem listeners will be connected to “Lorem Life,” a Spotify Greenroom show that will feature a mix of culture and discussions about music, the environment, sustainability, fashion, and space, Spotify says. The show is hosted by Gen Z influencers and TikTok stars, Dev Lemons and Max Motley, who will engage with other artists and influencers. It begins airing on Wednesday, September 15, at 9 PM ET.

Another new “playlist-inspired” show is “The Get Up LIVE.” If the name sounds familiar, it’s because “The Get Up” was introduced last fall as Spotify’s own take on a daily morning show by mixing music with talk radio-style content led by hosts who discuss the news, pop culture, entertainment, and other topics. To date, that content has not been provided as a live program, however. Instead, the show has been pre-recorded then made available as a playlist that gives listeners the feel of a daily FM radio show. Now, “The Get Up’s” co-hosts Kat Lazo and Xavier “X” Jernigan will record their show live on Greenroom, starting on Wednesday, Sept. 15 at 11 AM ET.

This odd time seems to contradict Spotify’s original intention of providing a show for those who commute to the office. But with the rise of remote work in the face of the unending pandemic, addressing the commuter audience may be of less interest, with the new program. However, Spotify tells us “The Get up LIVE” will be complementary to the daily show, which will still run as normal — that’s why it has a later airing.

Other new Greenroom shows include “A Gay in the Life,” hosted by the married couple, actor Garrett Clayton and writer and educator Blake Knight, who will discuss LGBTQIA+ news and issues (weekly, 8 PM ET, starting today); “Take a Seat,” hosted by Ben Mandelker and Ronnie Karam of the “Watch What Crappens” podcast, who will recap reality shows and dive into other pop culture fascinations (weekly, 10 PM ET, starting today); “The Movie Buff,” hosted by film buff and comedian Jon Gabrus, who will review and break down the latest hot movies (weekly, 11 PM ET, starting today); and “The Most Necessary: Live,” a complement to Spotify’s “Most Necessary” playlist, where host B.Dot will discuss up-and-comers in hip-hop (weekly, 9 PM ET, starting Tuesday).

In addition to the new programs, Deuxmoi’s show “Deux Me After Dark” will also air this evening (Sept. 13) at 9 PM ET to recap the red carpet looks and gossip from this year’s Met Gala alongside guest Hillary Kerr, co-founder of Who What Wear.

Image Credits: Spotify

Greenrom is now available to listeners in over 135 global markets and has been quietly expanding with live audio from sports site and podcast network “The Ringer” as well as from artists like Pop Smoke, the company says. Other programs added include Men In BlazersDeaux Me After DarkTrue Crime Rewind and Ask The Tarot.

The app had gotten off to a slower start this year, given its roots had been in sports talk live programming, which didn’t necessarily connect with Spotify’s music fans. Plus, it has faced growing competition from not only Clubhouse, which inspired its creation, but also other top social networks like Facebook, Twitter, Reddit, Discord, and more. Without dedicated programs to garner user interest in yet another live audio app, the company had only seen 141,000 new downloads for Greenroom on iOS a little over a month after its launch, and fewer on Google Play. But Spotify’s long-term vision for the service was to more closely tie Greenroom to the music, artists, programs, and podcasts that were already available on its flagship music streaming app — and these new shows are an example of that plan in action.

#apps, #clubhouse, #internet-culture, #media, #mobile, #mobile-applications, #social-audio, #social-networks, #software, #spotify, #spotify-greenroom

Amagi tunes into $100M for cloud-based video content creation, monetization

Media technology company Amagi announced Friday $100 million to further develop its cloud-based SaaS technology for broadcast and connected televisions.

Accel, Avataar Ventures and Norwest Venture Partners joined existing investor Premji Invest in the funding round, which included buying out stakes held by Emerald Media and Mayfield Fund. Nadathur Holdings continues as an existing investor. The latest round gives Amagi total funding raised to date of $150 million, Baskar Subramanian, co-founder and CEO of Amagi, told TechCrunch.

New Delhi-based Amagi provides cloud broadcast and targeted advertising software so that customers can create content that can be created and monetized to be distributed via broadcast TV and streaming TV platforms like The Roku Channel, Samsung TV Plus and Pluto TV. The company already supports more than 2,000 channels on its platform across over 40 countries.

“Video is a complex technology to manage — there are large files and a lot of computing,” Subramanian said. “What Amagi does is enable a content owner with zero technology knowledge to simplify that complex workflow and scalable infrastructure. We want to make it easy to plug in and start targeting and monetizing advertising.”

As a result, Amagi customers see operational cost savings on average of up to 40% compared to traditional delivery models and their ad impressions grow between five and 10 times.

The new funding comes at a time when the company is experiencing rapid growth. For example, Amagi grew 30 times in the United States alone over the past few years, Subramanian said. Amagi commands an audience of over 2 billion people, and the U.S. is its largest market. The company also sees growth potential in both Latin America and Europe.

In addition, in the last year, revenue grew 136%, while new customer year over year growth was 44%, including NBCUniversal — Subramanian said the Tokyo Olympics were run on Amagi’s platform for NBC, USA Today and ABS-CBN.

As more of a shift happens with video content being developed for connected television experiences, which he said is a $50 billion market, the company plans to use the new funding for sales expansion, R&D to invest in the company’s product pipeline and potential M&A opportunities. The company has not made any acquisitions yet, Subramanian added.

In addition to the broadcast operations in New Delhi, Amagi also has an innovation center in Bangalore and offices in New York, Los Angeles and London.

“Consumer behavior and infrastructure needs have reached a critical mass and new companies are bringing in the next generation of media, and we are a large part of that growth,” Subramanian said. “Sports will come on quicker, while live news and events are going to be one of the biggest growth areas.”

Shekhar Kirani, partner at Accel, said Amagi is taking a unique approach to enterprise SaaS due to that $50 billion industry shift happening in video content, where he sees half of the spend moving to connected television platforms quickly.

Some of the legacy players like Viacom and NBCUniversal created their own streaming platforms, where Netflix and Amazon have also been leading, but not many SaaS companies are enabling the transition, he said.

When Kirani met Subramanian five years ago, Amagi was already well funded, but Kirani was excited about the platform and wanted to help the company scale. He believes the company has a long tailwind because it is saving people time and enabling new content providers to move faster to get their content distributed.

“Amagi is creating a new category and will grow fast,” Kirani added. “They are already growing and doubling each year with phenomenal SaaS metrics because they are helping content providers to connect to any audience.

 

#accel, #advertising-tech, #amagi, #avataar-ventures, #baskar-subramanian, #cloud, #cloud-computing, #computing, #content-creators, #developer, #enterprise, #funding, #india, #mayfield-fund, #media, #norwest-venture-partners, #recent-funding, #shekhar-kirani, #startups, #streaming-video, #tc, #video-content

Apple Music is using Shazam to solve the streaming industry’s problem with DJ mixes

Apple Music announced today that it’s created a process to properly identify and compensate all of the individual creators involved in making a DJ mix. Using technology from the audio-recognition app Shazam, which Apple acquired in 2018 for $400 million, Apple Music is working with major and independent labels to devise a fair way to divide streaming royalties among DJs, labels, and artists who appear in the mixes. This is intended to help DJ mixes retain long-term monetary value for all creators involved, making sure that musicians get paid for their work even when other artists iterate on it. And, as one of Apple’s first major integrations of Shazam’s technology, it appears that the company saw value in

Historically, it’s been difficult for DJs to stream mixes online, since live streaming platforms like YouTube or Twitch might flag the use of other artists’ songs as copyright infringement. Artists are entitled to royalties when their song is played by a DJ during a live set, but dance music further complicates this, since small samples from various songs can be edited and mixed together into something unrecognizable.

Apple Music already hosts thousands of mixes, including sets from Tomorrowland’s digital festivals from 2020 and 2021, but only now is it formally announcing the tech that enables it to do this, even though Billboard noted it in June. As part of this announcement, Studio K7!’s DJ Kicks archive of mixes will begin to roll out on the service, giving fans access to mixes that haven’t been on the market in over 15 years.

“Apple Music is the first platform that offers continuous mixes where there’s a fair fee involved for the artists whose tracks are included in the mixes and for the artist making those mixes. It’s a step in the right direction where everyone gets treated fairly,” DJ Charlotte de Witte said in a statement on behalf of Apple. “I’m beyond excited to have the chance to provide online mixes again.”

Image Credits: Apple Music

For dance music fans, the ability to stream DJ mixes is groundbreaking, and it can help Apple Music compete with Spotify, which leads the industry in paid subscribers as it surpasses Apple’s hold on podcasting. Even as Apple Music has introduced lossless audio, spatial audio, and classical music acquisitions, the company hasn’t yet outpaced Spotify, though the addition of DJ mixes adds yet another unique music feature.

Still, Apple Music’s dive into the DJ royalties conundrum doesn’t necessarily address the broader crises at play among live musicians and DJs surviving through a pandemic.

Though platforms like Mixcloud allow DJs to stream sets and monetize using pre-licensed music, Apple Music’s DJ mixes will not include user-generated content. MIDiA Research, in partnership with Audible Magic, found that user-generated content (UGC) — online content that uses music, whether it’s a lipsync TikTok or a Soundcloud DJ mix — could be a music industry goldmine worth over $6 billion in the next two years. But Apple is not yet investing in UGC, as individuals cannot yet upload their personal mixes to stream on the platform like they might on Soundcloud. According to a Billboard report from June, Apple Music will only host mixes after the streamer has identified 70% of the combined tracks.

Apple Music didn’t respond to questions about how exactly royalties will be divided, but this is only a small step in reimagining how musicians will make a living in a digital landscape.

While these innovations help get artists compensated, streaming royalties only account for a small percentage of how musicians make money — Apple pays musicians one cent per stream, while competitors like Spotify pay only fractions of cents. This led the Union of Musicians and Allied Workers (UMAW) to launch a campaign in March called Justice at Spotify, which demands a one-cent-per-stream payout that matches Apple’s. But live events remain a musician’s bread and butter, especially given platforms’ paltry streaming payouts — of course, the pandemic hasn’t been conducive to touring. To add insult to injury, the Association for Electronic Music estimated in 2016 that dance music producers missed out on $120 million in royalties from their work being used without attribution in live performances.

#apple, #apple-inc, #apple-music, #apps, #artist, #audible, #audible-magic, #billboard, #computing, #disc-jockey, #entertainment, #media, #mixcloud, #music-industry, #online-content, #operating-systems, #shazam, #soundcloud, #spotify, #streaming, #streaming-media, #technology, #twitch

Roku’s first original film continues NBC’s canceled series ‘Zoey’s Extraordinary Playlist’

Roku’s expansion into original content continues with news that the streaming platform and device maker will debut its first original feature-length film during the 2021 holiday season. In partnership with Lionsgate, Roku announced it will introduce a movie based on the Emmy-winning TV series “Zoey’s Extraordinary Playlist,” which will air on its free streaming hub, The Roku Channel later this year.

The new movie, “Zoey’s Extraordinary Christmas,” will continue where the series left off following its season 2 finale and series cancellation, which had upset fans who had taken to social media in hopes of saving the show by finding it a new home. Roku, as it turns out, is that home — not only will it air the new film, it will also make all 25 episodes of the series available to stream for free on The Roku Channel in the U.S. later this fall.

The feature film, meanwhile, begins production this month in Vancouver, and will see a number of actors reprising their roles, including Jane Levy, Skylar Astin, Alex Newell, John Clarence Stewart, Andrew Leeds, Alice Lee, Michael Thomas Grant, Kapil Talwalkar, David St. Louis, Mary Steenburgen, Peter Gallagher, and Bernadette Peters. Details of the film’s plot are still limited, however, noting only that it will be a continuation of Zoey’s journey as she “navigates work, family, love and everything in between.”

While a significant move for fans who simply wanted more of their favorite show, it’s a bigger step forward for Roku and its original content strategy. The company had already tested consumers’ appetite for original series by acquiring the content catalog from the short-lived streaming service Quibi earlier this year, whose shows then launched to The Roku Channel as the company’s first set of Roku Originals. The debut lineup included 30 titles, but Roku is continuing to roll out more shows as the year progresses. Last month, for instance, it released 23 more of those shows to its collection.  The company also recently decided to reinvest in at least one previously Quibi-owned series by greenlighting a second season of “Most Dangerous Game.

But until now, Roku has not invested in full-length movies.

Movies make a good fit for The Roku Channel, of course, as the free streaming is supported by advertising — and movies, due to their length, offer more ad slots to be filled. In fact, The Roku Channel got its start as free movies hub, before later expanding to include TV shows and other types of content, like news and sports.

So far, Roku’s original programming seems to be connecting with viewers. The company says its top 5 streamed TV shows this summer (May 20-July 18) were all Roku Originals.

The new film is produced by Lionsgate in association with the Tannenbaum Company, Feigco Entertainment, and Universal Music Group’s Polygram Entertainment and Zihuatenejo Productions. The series creator Austin Winsberg will write and executive produce. Richard Shepard, who filmed the show’s pilot, will direct. Kim Tannenbaum, Eric Tannenbaum, Paul Feig, David Blackman, and Daniel Inkeles will also serve as executive producers.

The movie will air on The Roku Channel during the holidays in the U.S., Canada, and the U.K.

#canada, #christmas, #internet-radio, #internet-television, #lionsgate, #mass-media, #media, #now, #roku, #social-media, #streaming, #united-kingdom, #united-states, #universal-music-group, #vancouver, #zoeys-extraordinary-playlist

Tape It launches an A.I.-powered music recording app for iPhone

Earlier this year, Apple officially discontinued Music Memos, an iPhone app that allowed musicians to quickly record audio and develop new song ideas. Now, a new startup called Tape It is stepping in to fill the void with an app that improves audio recordings by offering a variety of features, including higher-quality sound, automatic instrument detection, support for markers, notes, and images, and more.

The idea for Tape It comes from two friends and musicians, Thomas Walther and Jan Nash.

Walther had previously spent three and a half years at Spotify, following its 2017 acquisition of the audio detection startup Sonalytic, which he had co-founded. Nash, meanwhile, is a classically trained opera singer, who also plays bass and is an engineer.

They’re joined by designer and musician Christian Crusius, previously of the design consultancy Fjord, which was acquired by Accenture.

The founders, who had played in a band together for many years, were inspired to build Tape It because it was something they wanted for themselves, Walther says. After ending his stint at Spotify working in their new Soundtrap division (an online music startup Spotify also bought in 2017), he knew he wanted to work on a project that was more focused on the music-making side of things. But while Soundtrap worked for some, it wasn’t what either Walther or his friends had needed. Instead, they wanted a simple tool that would allow them to record their music with their phone — something that musicians often do today using Apple’s Voice Memos app and, briefly, Music Memos — until its demise.

Image Credits: Tape It

“Regardless of whether you’re an amateur or even like a touring professional…you will record your ideas with your phone, just because that’s what you have with you,” Walther explains. “It’s the exact same thing with cameras — the best camera is the one you have with you. And the best audio recording tool is the one you have with you.”

That is, when you want to record, the easiest thing to do is not to get out your laptop and connect a bunch of cables to it, then load up your studio software — it’s to hit the record button on your iPhone.

The Tape It app allows you to do just that, but adds other features that make it more competitive with its built-in competition, Voice Memos.

When you record using Tape It, the app leverages A.I. to automatically detect the instrument, then annotate the recording with a visual indication to make those recordings easier to find by looking for the colorful icon. Musicians can also add their own markers to the files right when they record them, then add notes and photos to remind themselves of other details. This can be useful when reviewing the recordings later on, Walther says.

Image Credits: Tape It

“If I have a nice guitar sound, I can just take a picture of the settings on my amplifier, and I have them. This is something musicians do all the time,” he notes. “It’s the easiest way to re-create that sound.”

Another novel, but simple, change in Tape It is that breaks longer recordings into multiple lines, similar to a paragraph of text. The team calls this the “Time Paragraph,” and believes it will make listening to longer sessions easier than the default — which is typically a single, horizontally scrollable recording.

Image Credits: Tape It

The app has also been designed so it’s easier to go back to the right part of recordings, thanks to its smart waveforms, in addition to the optional markers and photos. And you can mark recordings as favorites so you can quickly pull up a list of your best ideas and sounds. The app offers full media center integration as well, so you can play back your music whenever you have time.

However, the standout feature is Tape It’s support for “Stereo HD” quality. Here, the app takes advantage of the two microphones on devices like the iPhone XS, XR, and other newer models, then improves the sound using A.I. technology and other noise reduction techniques which it’s developed in-house. This feature is part of its $20 per year premium subscription.

Over time, Tape It intends to broaden its use of A.I. and other IP to improve the sound quality further. It also plans to introduce collaborative features and support for importing and exporting recordings into professional studio software. This could eventually place Tape It into the same market that SoundCloud had initially chased before it shifted its focus to becoming more of a consumer-facing service.

But first, Tape It wants to nail the single-user workflow before adding on more sharing features.

“We decided that it’s so important to make sure it’s useful, even just for you. The stuff that you can collaborate on — if you don’t like using it yourself, you’re not going to use it,” Walther says.

Tape It’s team of three is dually based in both Stockholm and Berlin and is currently bootstrapping.

The app itself is a free download on iOS and will later support desktop users on Mac and Windows. An Android version is not planned.

#a-i, #accenture, #android, #apple, #apps, #artificial-intelligence, #audio-engineering, #berlin, #engineer, #iphone, #media, #microsoft-windows, #mobile, #operating-systems, #software, #sonalytic, #soundcloud, #soundtrap, #spotify, #startups, #stockholm, #tc

Microsoft launches a personalized news service, Microsoft Start

Microsoft today is introducing its own personalized news reading experience called Microsoft Start, available as both a website and mobile app, in addition to being integrated with other Microsoft products, including Windows 10 and 11 and its Microsoft Edge web browser. The feed will combine content from news publishers, but in a way that’s tailored to users’ individual interests, the company says — a customization system that could help Microsoft to better compete with the news reading experiences offered by rivals like Apple or Google, as well as popular third-party apps like Flipboard or SmartNews.

Microsoft says the product builds on the company’s legacy with online and mobile consumer services like MSN and Microsoft News. However, it won’t replace MSN. That service will remain available, despite the launch of this new, in-house competitor.

To use Microsoft Start, consumers can visit the standalone website MicrosoftStart.com, which works on both Google Chrome and Microsoft Edge (but not Safari), or they can download the Microsoft Start mobile app for iOS or Android.

The service will also power the News and Interests experience on the Windows 10 taskbar and the Widgets experience on Windows 11. In Microsoft Edge, it will be available from the New Tab page, too.

Image Credits: Microsoft

At first glance, the Microsoft Start website it very much like any other online portal offering a collection of news from a variety of publishers, alongside widgets for things like weather, stocks, sports scores and traffic. When you click to read an article, you’re taken to a syndicated version hosted on Microsoft’s domain, which includes the Microsoft Start top navigation bar at the top and emoji reaction buttons below the headline.

Users can also react to stories with emojis while browsing the home page itself.

This emoji set is similar to the one being offered today by Facebook, except that Microsoft has replaced Facebook’s controversial laughing face emoji with a thinking face. (It’s worth noting that the Facebook laughing face has been increasingly criticized for being used to openly ridicule posts and mock people  — even on stories depicting tragic events, like Covid deaths, for instance.)

Microsoft has made another change with its emoji, as well: after you react to a story with an emoji, you only see your emoji instead of the top three and total reaction count. 

Image Credits: Microsoft

But while online web portals tend to be static aggregators of news content, Microsoft Start’s feed will adjust to users’ interests in several different ways.

Users can click a “Personalize” button to be taken to a page where they can manually add and remove interests from across a number of high-level categories like news, entertainment, sports, technology, money, finance, travel, health, shopping, and more. Or they can search for categories and interests that could be more specific or more niche. (Instead of “parenting,” for instance, “parenting teenagers.”)  This recalls the recent update Flipboard made to its own main page, the For You feed, which lets users make similar choices.

As users then begin to browse their Microsoft Start feed, they can also click a button to thumbs up or thumbs down an article to better adjust the feed to their preferences. Over time, the more the user engages with the content, the better refined the feed becomes, says Microsoft. This customization will leverage A.I. and machine learning, as well as human moderation, the company notes.

The feed, like other online portals, is supported by advertising. As you scroll down, you’ll notice every few rows will feature one ad unit, where the URL is flagged with a green “Ad” badge. Initially, these mostly appear to be product ads, making them distinct from the news content. Since Microsoft isn’t shutting down MSN and is integrating this news service into a number of other products, it’s expanding the available advertising real estate it can offer with this launch.

According to the iOS app’s privacy label, the data being used to track users across websites and apps owned by other companies includes the User ID. By comparison, Google News does not include a tracking section. Both Microsoft Start and Google News collect a host of “data linked to you,” like location, identifiers, search history, usage data, contact info, and more. The website itself, however, only links to Microsoft’s general privacy policy.

The website, app and integrations are rolling out starting today. (If you aren’t able to find the app yet, you can try scanning the QR code from your mobile device.)

 

#a-i, #apple, #apps, #emoji, #finance, #machine-learning, #media, #microsoft, #microsoft-edge, #microsoft-windows, #mobile, #mobile-device, #msn, #news-publishers, #operating-systems, #social-media, #software, #web-browser, #windows-10, #windows-11

Hulu is raising the price on its on-demand plans by $1 starting Oct. 8

Following last year’s price hike on its Live TV service, Hulu is now preparing to raise prices again. Starting on October 8, 2021, Hulu will raise the price for both its on-demand plans, Hulu and Hulu with No Ads. However, unlike the earlier price hike which had clocked in at $10 more per month for each of its two Live TV plans, the new price increase will be just $1.00.

That means the ad-supported version of Hulu will increase from $5.99 to $6.99 per month, while Hulu with No Ads will increase from $11.99 to $12.99 per month. This will apply to both existing and new subscribers. Hulu says none of the October increases will impact its Live TV service or any plan where Hulu is bundled with Disney+. (Disney took full control of Hulu after buying Comcast’s stake in 2019).

Today, Hulu is offered with Disney+ and ESPN+ for $13.99 per month. This subtle shift in pricing for Hulu’s standalone service may make that bundle look attractive to those not in the market for Hulu’s live TV.

Hulu’s on-demand service accounts for the majority of its subscriber base today. In Disney’s fiscal third quarter earnings, announced last month, Hulu’s subscription video on-demand business had grown 22% year-over-year to reach 39.1 million subscribers, while its Live TV service (which also include the on-demand offerings), had grown just 9% to reach 3.7 million subscribers. Combined, Hulu had 42.8 million total subscribers, up 21% compared to the same period from the prior year.

This is slower growth, however, than Disney+ — that service saw more than 100% year-over-year growth, jumping from 57.7 million subscribers as of Disney’s Q3 2020 to 116 million in Disney’s Q3 2021.

Including Disney’s EPSN+, the company’s direct-to-consumer business had a total of nearly 174 million subscribers by the end of the quarter, the company said.

However, although Hulu trails Disney+ in subscriber count, it’s ahead on average monthly revenue per user (ARPU).

In Q3, ARPU declined from $4.62 to $4.16 due to a higher mix of Disney+ Hotstar subscribers compared with the prior-year quarter, Disney said. Hulu’s on-demand service, meanwhile, saw ARPU climb from $11.39 to $13.15 year-over-year and its Live TV service (+SVOD) grew from $68.11 to $84.09.

Hulu’s on-demand business includes a combination of licensed content and original programming, like newer arrivals “Nine Perfect Strangers,” “Only Murders in the Building,” and “Vacation Friends.” The company also just added thousands of Hotstar Specials and Bollywood hits, as of September 1.

 

#companies, #disney, #disney-channel, #disney-plus, #espn, #hotstar, #hulu, #hulu-live-tv, #mass-media, #media, #streaming, #streaming-service, #svod, #tc, #television, #the-walt-disney-company, #tv, #video

Driven by live streams, consumer spending in social apps to hit $17.2B in 2025

The live streaming boom is driving a significant uptick in the creator economy, as a new forecast estimates consumers will spend $6.78 billion in social apps in 2021. That figure will grow to $17.2 billion annually by 2025, according to data from mobile data firm App Annie, which notes the upward trend represents a five-year compound annual growth rate (CAGR) of 29%. By that point, the lifetime total spend in social apps will reach $78 billion, the firm reports.

Image Credits: App Annie

Initially, much of the livestream economy was based on one-off purchases like sticker packs, but today, consumers are gifting content creators directly during their live streams. Some of these donations can be incredibly high, at times. Twitch streamer ExoticChaotic was gifted $75,000 during a live session on Fortnite, which was one of the largest ever donations on the game streaming social network. Meanwhile, App Annie notes another platform, Bigo Live, is enabling broadcasters to earn up to $24,000 per month through their live streams.

Apps that offer live streaming as a prominent feature are also those that are driving the majority of today’s social app spending, the report says. In the first half of this year, $3 out every $4 spend in the top 25 social apps came from apps that offered live streams, for example.

Image Credits: App Annie

During the first half of 2021, the U.S. become the top market for consumer spending inside social apps with 1.7x the spend of the next largest market, Japan, and representing 30% of the market by spend. China, Saudi Arabia, and South Korea followed to round out the top 5.

Image Credits: App Annie

While both creators and the platforms are financially benefitting from the live streaming economy, the platforms are benefitting in other ways beyond their commissions on in-app purchases. Live streams are helping to drive demand for these social apps and they help to boost other key engagement metrics, like time spent in app.

One top app that’s significantly gaining here is TikTok.

Last year, TikTok surpassed YouTube in the U.S. and the U.K. in terms of the average monthly time spent per user. It often continues to lead in the former market, and more decisively leads in the latter.

Image Credits: App Annie

Image Credits: App Annie

In other markets, like South Korea and Japan, TikTok is making strides, but YouTube still leads by a wide margin. (In South Korea, YouTube leads by 2.5x, in fact.)

Image Credits: App Annie

Beyond just TikTok, consumers spent 740 billion hours in social apps in the first half of the year, which is equal to 44% of the time spent on mobile globally. Time spent in these apps has continued to trend upwards over the years, with growth that’s up 30% in the first half of 2021 compared to the same period in 2018.

Today, the apps that enable live streaming are outpacing those that focus on chat, photo or video. This is why companies like Instagram are now announcing dramatic shifts in focus, like how they’re “no longer a photo sharing app.” They know they need to more fully shift to video or they will be left behind.

The total time spent in the top five social apps that have an emphasis on live streaming are now set to surpass half a trillion hours on Android phones alone this year, not including China. That’s a three-year CAGR of 25% versus just 15% for apps in the Chat and Photo & Video categories, App Annie noted.

Image Credits: App Annie

Thanks to growth in India, the Asia-Pacific region now accounts for 60% of the time spent in social apps. As India’s growth in this area increased over the past 3.5 years, it shrunk the gap between itself and China from 115% in 2018 to just 7% in the first half of this year.

Social app downloads are also continuing to grow, due to the growth in live streaming.

To date, consumers have downloaded social apps 74 billion times and that demand remains strong, with 4.7 billion downloads in the first half of 2021 alone — up 50% year-over-year. In the first half of the year, Asia was the largest region region for social app downloads, accounting for 60% of the market.

This is largely due to India, the top market by a factor of 5x, which surpassed the U.S. back in 2018. India is followed by the U.S., Indonesia, Brazil and China, in terms of downloads.

Image Credits: App Annie

The shift towards live streaming and video has also impacted what sort of apps consumers are interested in downloading, not just the number of downloads.

A chart that show the top global apps from 2012 to the present highlights Facebook’s slipping grip. While its apps (Facebook, Messenger, Instagram and Facebook) have dominated the top spots over the years in various positions, TikTok popped into the number one position last year, and continues to maintain that ranking in 2021.

Further down the chart, other apps that aid in video editing have also overtaken others that had been more focused on photos or chat.

Image Credits: App Annie

Video apps like YouTube (#1), TikTok (#2) Tencent Video (#4), Bigo Live (#5), Twitch (#6), and others also now rank at the top of the global charts by consumer spending in the first half of 2021.

But YouTube (#1) still dominates in time spent compared with TikTok (#5), and others from Facebook — the company holds the next three spots for Facebook, WhatsApp and Instagram, respectively.

This could explain why TikTok is now exploring the idea of allowing users to upload even longer videos, by increasing the limit from 3 minutes to 5, for instance.

In addition, because of live streaming’s ability to drive growth in terms of time spent, it’s also likely the reason why TikTok has been heavily investing in new features for its TikTok LIVE platform, including things like events, support for co-hosts, Q&As and more, and why it made the “LIVE” button a more prominent feature in its app and user experience.

App Annie’s report also digs into the impact live streaming has had on specific platforms, like Twitch and Bigo Live, the former which doubled its monthly active user base from the pre-pandemic era, and the latter which saw $314.2 million in consumer spend during H1 2021.

“The ability of social media users to communicate with each other using live video – or watch others’ live broadcasts – has not only maintained the growth of a social media app market, but contributed to its exponential growth in engagement metrics like time spent, that might otherwise have saturated some time ago,” wrote App Annie’s Head of Insights, Lexi Sydow, when announcing the new report.

The full report is available here.

#android, #app-annie, #apps, #asia, #asia-pacific, #bigo-live, #brazil, #china, #computing, #facebook, #head, #india, #indonesia, #instagram, #japan, #media, #messenger, #mobile, #mobile-applications, #mobile-software, #operating-systems, #saudi-arabia, #social, #social-media, #software, #south-korea, #tiktok, #twitch, #united-kingdom, #united-states, #video, #video-hosting, #youtube

Rupert Murdoch’s News Corp Australia to Ease Climate Change Denial

The campaign, if sustained, could put pressure on Fox News, though critics were skeptical that a sea change was in store.

#australia, #global-warming, #mann-michael-e, #media, #murdoch-rupert, #news-and-news-media, #news-corporation, #newspapers, #politics-and-government, #rumors-and-misinformation, #sky-news

If Gawker Is Nice, Is It Still Gawker?

“I’m not interested in ruining people’s lives,” says its top editor, Leah Finnegan, who once insulted a baby in a headline.

#bustle-digital-group, #denton-nick, #finnegan-leah, #gawker-com, #goldberg-bryan-1983, #media

In Hong Kong, Jimmy Lai’s Next Digital Says It Has Been Forced to Close

Next Digital, which has published criticism of China for decades, said a crackdown had left it with no way to operate. Its main newspaper, Apple Daily, closed in June.

#bankruptcies, #china, #hong-kong, #hong-kong-protests-2019, #lai-jimmy, #media, #newspapers

Apollo completes its $5B acquisition of Verizon Media, now known as Yahoo

Private equity firm Apollo Global Management this morning announced that it has completed its acquisition of Yahoo (formerly known as Verizon Media Group, itself formerly known as Oath) from Verizon. The deal is worth $5 billion, with $4.25 billion in cash, plus preferred interests of $750 million. Verizon will be retaining 10% of the newly rebranded company.

“This is a new era for Yahoo,” Yahoo CEO (and former VZM head) Guru Gowrappan said in a release tied to the news. “The close of the deal heralds an exciting time of renewed opportunity for us as a standalone entity. We anticipate that the coming months and years will bring fresh growth and innovation for Yahoo as a business and a brand, and we look forward to creating that future with our new partners.”

There have been reports that Gowrappan might not stay on as CEO of Yahoo for the long term now that the deal has closed; for now he’s still at the helm.

In addition to its titular Yahoo properties (Mail, Sports, Finance, et al.), the group includes us, TechCrunch; AOL; Engadget and interactive media brand, RYOT. All told, the umbrella brand encompasses around 900 million monthly active users globally and is currently the third-largest internet property, per Apollo’s figures.

 

The deal puts to a close a years-long effort by Verizon to make a comprehensive move into online media, specifically around adtech, which ultimately proved to be too costly, mostly unprofitable, and finally not core enough to the telco’s bigger growth strategy.

The news comes during a tumultuous time for online media, amid increasing industry-wide consolidation, many felt within Verizon Media. Verizon acquired AOL in 2015 for $4.4 billion, followed by buying Yahoo for $4.5 billion two years later, combining the two legacy media properties into a combined group named Oath. At the end of 2018, Oath wrote down $4.6 billion, following the merger.

It’s not clear how a new owner will steer that large ship differently, but one strategy — standard practice for PE firms — could involve Apollo selling off parts of the business or rationalizing it in other ways.

However, for its part, Apollo has promised to continue investing in the newly acquired proprieties, and it has secured all jobs at the time of handover for at least an initial period. The bigger firm of Apollo has a massive set of TMT holdings so it will be interesting to see how and if it leverages that, too.

“We look forward to partnering with Yahoo’s talented employee base to build on the company’s strong momentum and position the new Yahoo for long-term success as a standalone consumer internet and digital media leader,” Apollo Partner Reed Rayman said in the release. “We couldn’t be more excited about this next chapter for Yahoo as we look to invest in growth across the business, including accelerating its customer-first offerings and commerce capabilities, expanding its reach and enhancing the daily user experience.”

#aol, #apollo, #entertainment, #ma, #media, #tc, #verizon, #yahoo

Google appeals ‘disproportionate’ French copyright talks fine

Google is appealing the more than half a billion dollar fine it got slapped with by France’s competition authority in July.

The penalty relates to the adtech giant’s approach toward paying news publishers for content reuse.

In a statement today, Sebastien Missoffe, a Google France VP and country manager, characterized the fine as “disproportionate” — claiming that the $592M penalty is not justified in light of Google’s “efforts” to cut a deal with news publishers and comply with updated copyright rules. Which reads like fairly weak sauce, as defence statements go.

“We are appealing the French Competition Authority’s decision which relates to our negotiations between April and August 2020. We disagree with a number of legal elements, and believe that the fine is disproportionate to our efforts to reach an agreement and comply with the new law,” wrote Missoffe, adding: “Irrespective of this, we recognize neighboring rights and we continue to work hard to resolve this case and put deals in place. This includes expanding offers to 1,200 publishers, clarifying aspects of our contracts, and we are sharing more data as requested by the French Competition Authority in their July Decision.”

Back in 2019, the European Union agreed on an update to digital copyright rules which extended cover to the ledes of news stories — snippets of which aggregators such as Google News had for years routinely scraped and displayed.

Individual EU Member States then needed to transpose the updated pan-EU reforms into their national laws — with France leading the pack to do so.

The country’s competition watchdog has also been leading the charge in enforcing updated rules against Google — ordering the tech giant to negotiate with publishers last year and following that up with a whopping fine when publishers complained to it about how Google was treating those talks.

Announcing the penalty this summer, the Autorité de la Concurrence accused the tech giant of attempting to unilaterally impose a global news licensing product it operates upon local publishers in a bid to avoid having to put a separate financial value on neighbouring rights remuneration — where there is a legal requirement (under EU and French law) upon it to negotiate with said publishers…

The watchdog’s full list of grievances against Google’s modus operandi was very long — check out our earlier report here — so it’s not clear how much of a placeholder action this appeal by Google is.

Per Reuters, the Autorité has said the appeal will not hold up the penalty nor impede the timeline of the order it already issued — which, in mid July, gave Google a two month timeframe to revise its offer and provide publishers with all the required info, with the threat of daily fines (of €900,000) if it failed to meet all its requirements by then. So there is now only a couple of weeks to go before that deadline.

Google may thus be hoping that by announcing an appeal now it will help ‘concentrate’ publishers’ minds — and encourage them to accept — whatever tweaked offer it comes up with, hence its statement noting an ‘expanded’ offer (now covering 1,200 publishers), and talk of “clarifying aspects of our contracts” and “sharing more data”, all of which were areas where Google got roundly spanked by the Autorité. 

#copyright, #digital-regulation, #europe, #european-union, #france, #google, #media, #news-publishers

Flipboard rolls out newsfeed personalization tools to save you from doomscrolling

Facebook is preparing to adjust its News Feed to de-emphasize political posts and current events, but news reader Flipboard is instead rolling out an update that puts users in control of their own feeds. The company announced this morning the launch of a new controller on the cover of its own main newsfeed, aka the “For You” feed, which now allows users to select new topics to follow and deselect those they no longer want to hear about. The feature, which Flipboard dubs “an antidote to doomscrolling,” allows users to customize their For You feed to deliver a wider selection stories related to their various interests, instead of focusing their home page on breaking news and politics.

Given today’s current events — a pandemic that’s dragging on, climate change-induced wildfires and major storms, the fall of Afghanistan, and other disasters — it’s no wonder why people want to take a break from the daily news. But for Flipboard, that trend could mean reduced use of its news-reading app, as well.

But while Flipboard notes that millions do use its app to keep up with breaking stories and politics, a majority of its user base also spends their time engaging with other topics — like travel, food, photography, fitness, and parenting.

By introducing tools that allow users to customize their own feeds, the company believes users will not only see improved mental health, but will also spend a longer time in the Flipboard app. Already, this appears to be true, based on other recent changes Flipboard has made.

The company recently introduced topic personalization features, which allowed users to zero in on more niche interests — think, not just cooking but keto cooking; not just health, but mindfulness and sleep, for example. Users who customized their preferences spent between 9 and 12 minutes per day reading stories about these topics, on average, Flipboard found.

With the launch of For You newsfeed controls, Flipboard wants to bring a similar level of customization and control to users’ own homepages.

The company said the feature also addresses the number one request from users — they’ve been asking to have more control over the content selection in their For You feed.

To use the feature, you’ll look for the new filter toggles at the top of the main page. After tapping the icon, you’ll be launched into a window where you can tap and untap a range of topics. You can also use the search bar to discover other interests that may not be listed. When you’re finished customizing, you’ll just tap “Save” to exit back to your newly customized For You feed.

Flipboard hopes its customization capabilities will help it to stand out from other news reading experiences — whether that’s browsing news inside social media feeds or even in dedicated news reading apps.

“This level of content control is unique to Flipboard; just think about how hard it is to adjust your feed on any other platform,” noted Flipboard CEO Mike McCue, when introducing the update.  “A highly personalized feed empowers people to focus on the things that matter to them, without being distracted by doomscrolling, misinformation or browsing through other people’s lives. We build a platform that lets people take control of their media consumption rather than letting it control them,” he added.

#apps, #computing, #controller, #doomscrolling, #flipboard, #media, #mike-mccue, #mobile, #news, #news-aggregator, #news-feed, #news-reading, #newsfeed, #newsreader, #operating-systems, #politics, #social-media, #tc

As 5G demand grows, Sitenna helps telcos find more cell tower locations, faster

The buildout of 5G networks continues apace, with wide-scale deployments across much of the developed world. Yet, one of the largest challenges with closing the gaps in coverage maps are constraints on 5G transmissions. Because of the spectrum that 5G technology uses compared to 4G, telecom operators need to install many times more towers to deliver the advertised bandwidth with the same quality signal that users expect.

Installing cell towers is a daunting proposition though. An operator has to find exactly the right location in terms of line of sight to users, then make sure the location has power and internet access, and then negotiate a contract with the property owner to keep the tower there for a decade or more. Now repeat tens of thousands of times (and maybe even more).

Sitenna, which will debut next week as part of Y Combinator’s Summer 2021 Demo Day, wants to radically speed up the process of selecting tower sites and securing contracts, creating a marketplace for landlords, tower operators and telcos alike.

Tower siting and access to poles have in some cases emerged as national infrastructure priorities. In the United States, the challenges around installing new towers — and new towers quickly — became a top priority of the FCC during the Trump administration, which launched a 5G FAST Plan to try to ease regulations around tower installation.

Sitenna’s founders Daniel Campion and Brian Sexton saw an opportunity with such programs to help with the movement. Over the past year, they have built out what is essentially a marketplace that on one hand, helps property owners figure out if they have an asset that’s worth investigating for telecom usage, and on the other, helps tower operators select and digitally sign deals for installation.

Sitenna co-founder and CEO Daniel Campion. Image Credits: Sitenna

The company launched in the United Kingdom in June, and “it kind of resonated,” Campion said, noting that 65,000 real estate assets and roughly 15% of the towers in the UK are now on the platform. The company has kicked off two pilots with Vodafone and its tower provider Cornerstone. He said the company intends to enter the U.S. market in the first quarter of next year.

While the company is starting with a marketplace, like many startups today, it is also augmenting that marketplace with B2B SaaS tools. In its case, that means tools for telcos to manage the process of onboarding a new tower location and then managing the asset. “Once they find the site, they ping pong emails back and forth,” Campion said. “So we have built some tools to help them on their workflows.”

Sitenna’s platform allows landlords and tower operators to inspect and transact tower locations. Image Credits: Sitenna

While there is definitely a large wave of tower installations underway now with the transition to 5G wireless, that wave doesn’t mean that tower installation will suddenly dry up in a few years. Campion notes that there is a “continual refresh of 15-20% on the carrier side” due to everything from changing usage patterns and building redevelopment to just standard hardware replacement.

And of course, there is always 6G, which while completely amorphous today, is a real thing that I get invites to conferences for. There’s always going to be a next generation of wireless, and Sitenna wants to become the center for managing that infrastructure.

#5g, #5g-wireless, #marketplace, #media, #saas, #startups, #united-kingdom, #y-combinator

After a shift to video, Vice Media lays off writers.

The company cut nearly 20 staff members at Vice and Refinery29.

#layoffs-and-job-reductions, #media, #refinery29-inc, #vice-media-inc, #vice-news

Netflix begins testing mobile games in its Android app in Poland

Netflix today announced it will begin testing mobile games inside its Android app for its members in Poland. At launch, paying subscribers will be able to try out two games, “Stranger Things: 1984” and “Stranger Things 3” — titles that have been previously available on the Apple App Store, Google Play and, in the case of the newer release, on other platforms including desktop and consoles. While the games are offered to subscribers from within the Netflix mobile app’s center tab, users will still be directed to the Google Play Store to install the game on their devices.

To then play, members will need to confirm their Netflix credentials.

Members can later return to the game at any time by clicking “Play” on the game’s page from inside the Netflix app or by launching it directly from their mobile device.

“It’s still very, very early days and we will be working hard to deliver the best possible experience in the months ahead with our no ads, no in-app purchases approach to gaming,” a Netflix spokesperson said about the launch.

The company has been expanding its investment in gaming for years, seeing the potential for a broader entertainment universe that ties in to its most popular shows. At the E3 gaming conference back in 2019, Netflix detailed a series of gaming integrations across popular platforms like Roblox and Fortnite and its plans to bring new “Stranger Things” games to the market.

On mobile, Netflix has been working with the Allen, Texas-based game studio BonusXP, whose first game for Netflix, “Stranger Things: The Game,” has now been renamed “Stranger Things: 1984” to better differentiate it from others. While that game takes place after season 1 and before season 2, in the “Stranger Things” timeline, the follow-up title, “Stranger Things 3,” is a playable version of the third season of the Netflix series. (So watch out for spoilers!)

Netflix declined to share how popular the games had been in terms of users or installs, while they were publicly available on the app stores.

With the launch of the test in Poland, Netflix says users will need to have a membership to download the titles as they’re now exclusively available to subscribers. However, existing users who already downloaded the game from Google Play in the past will not be impacted. They will be able to play the game as usual or even re-download it from their account library if they used to have it installed. But new players will only be able to get the game from the Netflix app.

The test aims to better understand how mobile gaming will resonate with Netflix members and determine what other improvements Netflix may need to make to the overall functionality, the company said. It chose Poland as the initial test market because it has an active mobile gaming audience, which made it seem like a good fit for this early feedback.

Netflix couldn’t say when it would broaden this test to other countries, beyond “the coming months.”

The streamer recently announced during its second-quarter earnings that it would add mobile games to its offerings, noting that it viewing gaming as “another new content category” for its business, similar to its “expansion into original films, animation and unscripted TV.”

The news followed what had been a sharp slowdown in new customers after the pandemic-fueled boost to streaming. In North America, Netflix in Q2 lost a sizable 430,000 subscribers — its third-ever quarterly decline in a decade. It also issued weaker guidance for the upcoming quarter, forecasting the addition of 3.5 million subscribers when analysts had been looking for 5.9 million. But Netflix downplayed the threat of competition on its slowing growth, instead blaming a lighter content slate, in part due to Covid-related production delays.

 

 

 

 

 

#android, #animation, #app-store, #apple-app-store, #apps, #computing, #gaming, #google-play, #google-play-store, #media, #mobile, #mobile-device, #mobile-game, #netflix, #north-america, #operating-systems, #poland, #roblox, #software, #spokesperson, #stranger-things, #texas

Apple lowers commissions on in-app purchases for news publishers who participate in Apple News

Apple today is launching a new program that will allow subscription news organizations that participate in the Apple News app and meet certain requirements to lower their commission rate to 15% on qualifying in-app purchases taking place inside their apps on the App Store. Typically, Apple’s model for subscription-based apps involves a standard 30% commission during their first year on the App Store which then drops to 15% in year two. But the new Apple News Partner Program, announced today, will now make 15% the commission rate for participants starting on day one.

There are a few caveats to this condition, and they benefit Apple. To qualify, the news publisher must maintain a presence on Apple News and they have to provide their content in the Apple News Format (ANF). The latter is the JavaScript Object Notation (JSON) format that’s used to create articles for Apple News which are optimized for Mac, iPhone and other Apple mobile devices. Typically, this involves a bit of setup to translate news articles from a publisher’s website or from their CMS (content management system) to the supported JSON format. For WordPress and other popular CMS’s, there are also plugins available to make this process easier.

Meanwhile, for publishers headquartered outside one of the four existing Apple News markets — the U.S., U.K., Australia, or Canada — they can instead satisfy the program’s obligations by providing Apple with an RSS feed.

On the App Store, the partner app qualifying for the 15% commission must be used to deliver “original, professionally authored” news content, and they must offer their auto-renewable subscriptions using Apple’s in-app purchase system.

While there is some initial work involved in establishing the publisher’s connection to Apple News, it’s worth noting that most major publishers already participate on Apple’s platform. That means they won’t have to do any additional work beyond what they’re already doing in order to transition over to the reduced commission for their apps. However, the program also serves as a way to push news organizations to continue to participate in the Apple News ecosystem, as it will make more financial sense to do so across their broader business.

That will likely be an area of contention for publishers, who would probably prefer that the reduced App Store commission didn’t come with strings attached.

Some publishers already worry that they’re giving up too much control over their business by tying themselves to the Apple News ecosystem. Last year, for example, The New York Times announced it would exit its partnership with Apple News, saying that Apple didn’t allow it to have as direct a relationship with readers as it wanted, and it would rather drive readers to its own app and website.

Apple, however, would argue that it doesn’t stand in the way of publishers’ businesses — it lets them paywall their content and keep 100% of the ad revenue from the ads they sell. (If they can’t sell it all or would prefer Apple to do so on their behalf, they then split the commission with Apple, keeping 70% of revenues instead.) In addition, for the company’s Apple News+ subscription service — where the subscription revenue split is much higher — it could be argued that it’s “found money.” That is, Apple markets the service to customers the publisher hadn’t been able to attract on its own anyway.

The launch of the new Apple News Partner program comes amid regulatory scrutiny over how Apple manages its App Store business and more recently, proposed legislation aiming to address alleged anticompetitive issues both in the U.S. and in major App Store markets, like South Korea.

Sensing this shift in the market, Apple had already been working to provide itself cover from antitrust complaints and lawsuits — like the one underway now with Epic Games — by adjusting its App Store commissions. Last year, it launched the App Store Small Business Program, which also lowered commissions on in-app purchases from 30% to 15% — but only for developers earning up to $1 million in revenues.

This program may have helped smaller publishers, but it was clear some major publishers still weren’t satisfied. After the reduced commissions for small businesses were announced in November, the publisher trade organization Digital Content Next (DCN) — a representative for the AP, The New York Times, NPR, ESPN, Vox, The Washington Post, Meredith, Bloomberg, NBCU, The Financial Times, and others — joined the advocacy group and lobbying organization the Coalition for App Fairness (CAF) the very next month.

These publishers, who had previously written to Apple CEO Tim Cook to demand lower commissions — had other complaints about the revenue share beyond just the size of the split. They also didn’t want to be required to use Apple’s services for in-app purchases for their subscriptions, saying this “Apple tax” forces them to raise their prices for consumers.

It remains to be seen how these publishers will now react to the launch of the Apple News Partner program.

While it gives them a way to lower their App Store fees, it doesn’t address their broader complaints against Apple’s platform and its rules. If anything, it ties the lower fees to a program that locks them in further to the Apple ecosystem.

Apple, in a gesture of goodwill, also said today it would recommit support to three leading media non-profits, Common Sense Media, the News Literacy Project, and Osservatorio Permanente Giovani-Editori. These non-profits offer nonpartisan, independent media literacy programs, which Apple views as key to its larger mission to empower people to become smart and active news readers. Apple also said it would later announce further media literacy projects from other organizations. The company would not disclose the size of its commitment from a financial standpoint however, or discuss how much it has sent such organizations in the past.

“Providing Apple News customers with access to trusted information from our publishing partners has been our priority from day one,” said Eddy Cue, Apple’s senior vice president of Services, in a statement. “For more than a decade, Apple has offered our customers many ways to access and enjoy news content across our products and services. We have hundreds of news apps from dozens of countries around the world available in the App Store, and created Apple News Format to offer publishers a tool to showcase their content and provide a great experience for millions of Apple News users,” he added.

More details about the program and the application form will be available at the News Partner Program website.

#advocacy, #app-store, #apple, #apple-inc, #apple-news, #apps, #australia, #canada, #ceo, #coalition-for-app-fairness, #common-sense, #common-sense-media, #computing, #content-management-system, #eddy-cue, #epic-games, #ios, #iphone, #itunes, #javascript, #json, #major, #media, #mobile-devices, #software, #south-korea, #the-financial-times, #the-new-york-times, #the-washington-post, #tim-cook, #united-kingdom, #united-states

Bright raises $15M for its live video platform that lets you Zoom with top creators

Bright, a live video platform that lets fans Zoom with their favorite creators and celebs, has raised $15 million in new funding, the company announced today. The round was co-led by co-founder and talent manager Guy Oseary’s Sound Ventures, the fund he founded with Ashton Kutcher. RIT Capital and Regah Ventures also co-led.

Other investors in the new round include Marc Benioff’s TIME Ventures, Globo Ventures, Norwest Venture Partners, Shawn Mendes & Manager Andrew Gertler’s AG Ventures, as well as Jeff Lawson, CEO and co-founder of Twilio.

In addition, a number of artists, performers, actors and other celebrities also invested, Bright says, including Rachel Zoe, Drew and Jonathan Scott, Judd Apatow, Ashton Kutcher, Amy Schumer, Bethenny Frankel, and Ryan Tedder. Meanwhile, Jessica Alba, Kane Brown and Maria Sharapova are joining the company as advisors.

Bright, which first debuted in May, was co-founded by Madonna and U2 talent manager Guy Oseary along with early YouTube product manager Michael Powers, who had previously launched the YouTube Channels feature while at Google. The startup’s premise is to tap into the growing creator economy in a way that allows creators to better monetize their success outside of ad-supported networks, like YouTube, so they can grow their own business.

The platform itself is built on top of Zoom — a choice that not only saves Bright from starting from scratch for its real-time video technology, but also one that leverages the broad adoption Zoom has since seen due to the pandemic.

At launch, Bright announced a lineup that included over 200 prominent creators who were set to host ticketed online events where they share their stories or expertise, engage in interviews, offer advice and more. Today, Bright says now over 300 notable names have joined the service to engage with fans and continue to build their brand. The list includes Madonna, Naomi Campbell, D-Nice, the D’Amelio Sisters, Laura Dern, Deepak Chopra, Lindsey Vonn, Diego Boneta, Jason Bolden, Yris Palmer, Cat & Nat, Ronnie2K, and Chef Ludo Lefebvre, and others. Even more are on board to host future sessions.

Unlike social media creator tools, Bright is focused on knowledge-sharing rather than just gaining likes or follows. For example, one the first sessions featured actor Laura Dern speaking about personal growth, while another featured streamer and online creator Ronnie2K hosting a series about building a career in gaming. In other words, Bright doesn’t only showcase Hollywood entertainment or top artists — it’s open to anyone whose fan base would be willing to pay to hear them talk.

Today, there are sessions across a variety of interests and topics, organized into areas like craft, home, money, culture, body and mind.

Image Credits: Bright session example

Bright itself generates revenue by taking a 20% commission on creator revenue, which is somewhat lower than the traditional marketplace split of 30/70 (platform/creator) but higher than some of the newer platforms available today, like Clubhouse and its commission-free direct payments.

The startup says the funding is being used to help roll out Creator Studio, a new suite of creator tools for managing learning sessions, audience communication, and revenue performance. These sorts of analytics and tools are aimed at serving creators who are working to build a business through live sessions, in addition to growing their fan base. The funds will also help Bright to add new interactive features, like instant polls and the ability to share learning materials with attendees, it says.

These features could potentially help Bright to stand out from a growing number of competitors looking to serve online creators, which today includes major tech companies, like YouTube, Facebook, TikTok and Twitter. However, Oseary’s ability to leverage his personal network to pull in big names is, for now, the more notable differentiator.

“As a believer in lifelong learning, I’m proud to be investing in a platform like Bright, offering audiences the unique opportunity to learn directly from the artists and experts they admire the most,” said new investor, director and producer, Judd Apatow, in a statement. “Through Bright, I can directly connect and share my knowledge with fellow writers, aspiring directors and lovers of comedy,” he added.

“It’s inspiring to have the support of incredible investors as well as these notable artists and entrepreneurs. All our partners share Bright’s vision that people want to level up their lives by learning directly from those they admire,” Bright CEO Michael Powers said, in an announcement. “Through Bright, talent can better engage authentically with audiences by sharing their own knowledge and bringing their many interests and passions to the foreground. We are excited to roll out our new features to continue elevating our platform and mission” he said.

#advisors, #amy-schumer, #apps, #articles, #ashton-kutcher, #chef, #creator-studio, #creator-tools, #deepak-chopra, #google, #guy-oseary, #jeff-lawson, #jessica-alba, #marc-benioff, #media, #michael-powers, #norwest-venture-partners, #online-creators, #online-events, #product-manager, #recent-funding, #social, #social-media, #software, #startups, #time-ventures, #twilio, #twitter, #video-hosting, #youtube

NBA All-Star Chris Paul joins digital media startup Greenfly’s growth round

Greenfly’s latest funding round has a new face: Phoenix Suns point guard Chris Paul joined as a strategic investor and partner in the company, which developed digital media flow management software.

Paul’s investment is part of an $8.4 million strategic growth round that also includes Verance Capital, Higher Ground Labs, DD Venture Capital, SW19 Ventures, LinkinFirm and Allievo Capital, as well as existing investors Go4it Capital, Elysian Park Ventures, Alpha Edison and Iconica Partners.

The new round gives Los Angeles-based Greenfly over $23 million raised since the company was founded in 2014 by former Major League Baseball All-Star Shawn Green and his cousin Daniel Kirschner, who previously held senior roles at the U.S. Department of Justice, the Federal Communications Commission and Activision Blizzard.

Green and Kirschner saw how social media was driving new sources of revenue for organizations like sports teams, politics and consumer brands, but needed a way for real-time distribution of media to be easily shared. Kirschner explained that when Green first started in his career, there were times when he needed to provide feedback for a public moment, like when his home run record was tied, and it occurred to Green that they could build a mini media studio.

Paul, an 11-time National Basketball Association All-Star, was one of Greenfly’s early adopters, using the platform to share content to his social media channels following his games. However, Paul realized he was also sitting on valuable content within his phone, like game or event photos, but without a good system for easily accessing them or matching them to events going on at that moment. He considers Greenfly “instant access to a media gallery” that he can share on his social media accounts.

One of the best features, he explained, was seeing a post on social media with only two photos of an event, but while searching Greenfly, he came across 12 to 15 other photos that he had never seen. He believes the company will continue to grow, and as a partner, will work with Greenfly to build awareness for the platform and get other players involved.

“I’m a big believer of creating memories and seeing photos,” Paul told TechCrunch. “You can go in and search for my name and Devin Booker’s and see photos of us playing together. The NBA uses Greenfly to automate the media and share with others. I love it because it makes it easy — you don’t want something hard and complicated.”

Instead of just repurposing materials, Greenfly will continue to build a workflow around events that provides sourcing, creation and automated distribution of photos and short-form videos created for social media.

Greenfly is also working on increased improvements to curate media most relevant to users, and is collecting data to provide more insights around that so that users can manage relationships with their community to amplify their messages. The new funding will go toward growth and expansion to build additional collaboration tools and content as more players sign on.

“With Chris, it is an opportunity to come at it from the athlete’s perspective,” Kirschner said. “Our deals are mainly with leagues and teams, so to be working with athletes, who are their own brands, enables us to be the system of record for all sides.”

The past year was a big growth period for the company, and it had been reaching a tipping point just prior to 2020, he added. Greenfly is now working with more than 30 sports leagues, including the NBA, Major League Baseball and World Surf League.

It also boasts over 500 organizations in sports, media and entertainment, political campaigns, social causes and consumer brands, and is experiencing over 100% growth so far in 2021, Kirschner said.

With social media evolving, the company is looking for more polished content because it learned that stories and intimate content performs better.

“We set out to build a content collaboration platform to provide content that athletes and others can share on social media and also manage that workflow around large, complex organizations,” he added. “Organizations have lots of content and we make that available through routing tools and curation, making it easy to find what you are looking for.”

#advertising-tech, #allievo-capital, #alpha-edison, #apps, #athlete, #chris-paul, #collaboration-tools, #daniel-kirschner, #dd-venture-capital, #entertainment, #funding, #greenfly, #higher-ground-labs, #linkinfirm, #major-league-baseball, #media, #national-basketball-association, #recent-funding, #shawn-green, #social, #social-media, #startups, #sw19-ventures, #tc, #verance-capital

Spotify’s Podcasts Subscriptions service is now open to all U.S. creators

Spotify is today opening up access to Podcast Subscriptions to all podcast creators in the U.S., after first launching the service for testing with a smaller number of creators back in April. Through Spotify’s podcast creation tool Anchor, podcasters of all sizes will now able to mark select episodes as subscriber-only content, then publish them to Spotify and other platforms. Since launch, over 100 podcasts have adopted subscriptions, Spotify says. Based on the early feedback from these creators, the company is now making a couple of key changes to both pricing and functionality as the service becomes more broadly available.

Before, creators could choose between one of three price points: either $2.99, $4.99, or $7.99 per month. Creators were able to choose which price point made the most sense for their audience.

But the company learned that creators wanted even more flexibility in pricing, which is why it’s now expanding the number of price points to 20 options, starting as low as $0.49 and then increasing all the way up to $150.

Image Credits: Spotify

 

Spotify explained that its research found that creators wanted some sense of where to start with pricing, rather than offering a completely open-ended system. That’s why the pricing isn’t something creators today manually enter. Going forward, Spotify will show the three price points that tested well — $0.99, $4.99 and $9.99 — before listing the other 17 options. Of those three, the company told us $4.99 was the best performing.

In addition to the ability to set pricing and gain access to a private RSS feed that can be used by listeners who prefer using a different podcast app, Spotify will now offer podcast creators the ability to download a list of contact addresses for their subscribers. This allows them to further engage with their subscriber base to offer them more benefits, the company notes. It could also be a selling point for creators who would otherwise not want to get on board with a paid subscription offering like this, if it meant losing out on a more direct relationship with their customer.

Image Credits: Spotify

 

Spotify is not the only service offering paid podcasts. Apple recently announced its own podcast subscription platform. But Spotify’s is currently the more affordable of the two. Apple will take a 30% cut from podcast revenue in year one, dropping to 15% in year two — similar to other subscription apps. Spotify, meanwhile, is keeping its program free for the next two years, meaning that creators keep 100% of revenues until 2023. After that, Spotify plans to take just a 5% cut of subscription revenues.

With this first step into a marketplace model, it’s notable to see Spotify — a staunch Apple critic in the antitrust fight — taking such a small percentage of creator revenues. Spotify has argued for years that Apple’s cut of Spotify’s own subscription business is an anticompetitive practice, especially since Apple is a business rival via its subscription-based Apple Music service, and now, its podcast subscriptions, too.

Today, Spotify hosts a number of subscription-based podcasts, including bigger names like NPR (which is on Apple’s paid podcasts service, too), as well as independent creators like Betches U Up?, Cultivating H.E.R. Space, and Mindful in Minutes. Creators who choose to work with Spotify aren’t locked in — they can share private RSS fees with their customers and publish to other platforms, like Apple Podcasts.

The news of Spotify’s broader launch follows a growing chorus of complaints from podcasters that Apple’s own subscriptions service is off to a rough start. A report from The Verge documented creators’ complaints about bugs, confusing user interfaces, interoperability issues, and more. In the meantime, Spotify claims its waitlist for creators interested in its podcast subscriptions had “thousands” of sign-ups.

The company says it will expand access to international customers soon. Starting on September 15, international listeners will gain access to subscriber-only content. And shortly after, creators will gain access to Podcast Subscriptions, too.

#apple, #apple-inc, #apple-music, #apple-news, #media, #operating-systems, #podcast, #software, #spotify, #technology, #united-states