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Authentic Artists is building virtual, AI-powered musicians

Chris McGarry, who previously led music integration at Facebook’s Oculus, is taking a new approach to bringing music into the virtual world with his startup Authentic Artists.

McGarry pointed to virtual celebrities like Lil Miquela and virtual concerts like Travis Scott’s giant event in Fortnite as setting the stage for Authentic Artists. In a sense, the startup represents a combination of those ideas, creating virtual musicians who perform their own concerts — initially in Twitch — and can respond to audience requests.

“We are very intentionally not trying to create a digital facsimile of what already exists,” he said. “We want to use new tools to create new art, new experiences, new culture. The appeal is that these artists can really be vehicles for collaboration with the audience, so that [audience members] can selectively shape the live show.”

In fact, Authentic Artists has already held some test concerts on Twitch, and McGarry said the team was “frankly, sort of blown away by the response,” with average watch time of 35 minutes.

It will be unveiling its next generation of virtual artists in Twitch concerts starting on April 14, co-hosted by (human) Twitch streamers, who will introduce the concept to audiences — though McGarry said there’s potential for more collaboration between virtual and human stars in the future.

There are a number of different pieces to the Authentic Artists platform, working together to animate a virtual musician, generate their music and allow them to respond to audience feedback, whether that’s increasing the intensity of a song, decreasing the tempo or fast-forwarding to the next song.

“Music is the lifeblood of our vision, and accordingly, we’ve invested significantly in the core audio engine,” McGarry said. He emphasized that the platform is not simply recombining music loops composed by humans, but rather generating music on its own: “We want [our virtual artists] to have autonomy, we want them to be real.”

It sounds like the team is still putting the final touches on the new artists, so I didn’t get to see a full concert experience. Instead, McGarry and his team presented renderings of these artists (including a half-human cyborg and a giant iguana) and their virtual venues, and they demonstrated the music engine, creating new compositions on-the-fly while adjusting different parameters. As McGarry put it, “These are all original compositions, generated and produced as we sit here, with no manual intervention.”

Authentic Artists is backed by investors including OVO Fund, James Murdoch’s Lupa Systems, Mixi Group and Mike Shinoda of Linkin Park. McGarry said he’s currently more focused on finding product-market fit than on the business model, but he sees opportunities to make money through avenues such as branded music and decentralized finance/NFTs in the future.

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Clubhouse will create billions in value and capture none of it

Hello and welcome back to Equity, TechCrunch’s venture capital-focused podcast, where we unpack the numbers behind the headlines.

Natasha and Danny and Alex and Grace were all here to chat through the week’s biggest tech happenings. It was a busy week on the IPO front, Danny was buried in getting the Tonal EC-1 out, and Natasha took some time off. But the host trio managed to prep and record a show that was honestly a kick to record, and we think, a pleasure to listen to!

So, for your morning walk, here’s what we have for you:

It was a mix of laughs, ‘aha’ moments and honest conversations about how complex ambition in startups should be. One listener the other day mentioned to us that the pandemic made it harder to carve out time for podcasts, since listening was often reserved for commutes. We get it, and in true scrappy fashion, we’re curious how you’ve adapted to remote work and podcasts. Let us know how you tune into Equity via Twitter and remember that we’re thankful for your ears!

Equity drops every Monday at 7:00 a.m. PST, Wednesday, and Friday at 6:00 AM PST, so subscribe to us on Apple PodcastsOvercastSpotify and all the casts!

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Extra Crunch members get unlimited access to 12M stock images for $99 per year

We’re excited to announce that we’ve partnered with Yay Images for a new Extra Crunch Partner Perk. Starting today, Extra Crunch members can get unlimited access to Yay Images’ collection of over 12 million stock images, 1.5 million vectors and 250,000 HD/4K Videos at a discounted annual rate.

The Yay Images Solo Plan (one user) can be purchased by Extra Crunch members for only $99/year, while the Growth Plan (2+ users) will run your team $199/year. 

Full details on the Yay Images’ Partner Perk:

  • Unlimited downloads across a collection of over 12 million images, 1.5 million vectors and 250,000 HD/4K Videos.
  • Unlimited team members with the Growth Plan.
  • Flexible licensing with both Standard Commercial and Extended Licenses.
  • Advanced search and filters.
  • $25,000 copyright protection per asset.
  • Dedicated account manager.
  • 300,000+ in Partner Perks Offers from IBM, Google, Airtable, Zendesk and more.

Much like TechCrunch, Yay is also on a mission to help founders and startup teams. Yay Images was born in 2008 in Oslo, Norway to create an affordable stock media agency with high-quality content. With a shared vision from the Founders Fund, Yay Images got an investment in 2014 from top Norwegian serial entrepreneurs and StartupLab for the world’s first unlimited download stock media product. More recently, Yay has created a product designed for individuals or startup teams with flexibility and affordability in mind.

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Kargo unveils its new Fabrik publishing system

Digital advertising company Kargo is launching a new product and new business unit called Fabrik.

Founder and CEO Harry Kargman explained that Fabrik is a content management system designed for publishers’ modern needs and integrated with Kargo’s advertising technology.

Kargman suggested that he sees this as part of Kargo’s broader mission of “saving publishing.” That might seem like a tall order for an ad business, but he said the company has tried to do that “by driving extraordinary ad experiences and monetization.” And yet, he’s come to realize, “That’s not enough.”

In particular, Kargman came to realize that many websites have “too much weight” and load far too slowly (to illustrate his point, he loaded the TechCrunch homepage, and it was indeed slower than I would like). This drives readers away and also has a detrimental effect on Google search rankings.

So the goal with Fabrik is to create a “lightning fast” web experience, which you can see for yourself on the OK Magazine website. Fabrik says that one of the key steps to achieving this speed is by eliminating the need for third-party trackers and plugins — in fact, Kargman described plugins as “the death of the internet” and told me he often asks publishers, “Do you want to make money, or do you want to have a lot of plugins?”

“We built it for Google’s best practices and the core Web Vitals,” added COO Michael Shaughnessy. “We’re very strategic about how we load items that would really slow us down.”

This launch comes as many publishers are exploring business models beyond advertising, such as subscriptions and memberships. Shaughnessy suggested that Fabrik is complementary to those efforts, because it’s “simplifying the foundation,” thus freeing teams to focus on new commercial initiatives.

As for the advertising side, Kargman said, “We think we’ve built our adtech directly into Fabrik in a way that there’s absolutely no reason not to use Kargo — but certainly, it doesn’t require you to exclusively use Kargo. We expect publishers to monetize their own sites, to cut branded entertainment deals, to do all the good things that they do.”

And as previously mentioned, the plan is for Fabrik to be a separate business unit under the Kargo’s corporate umbrella, with its own customers and its own CEO — Kargman said he’s talking to a potential hire, but it’s “not quite ready yet to announce.”

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Dataminr raises $475M on a $4.1B valuation for real-time insights based on 100k sources of public data

Significant funding news today for one of the startups making a business out of tapping huge, noisy troves of publicly available data across social media, news sites, undisclosed filings and more. Dataminr, which ingests information from a mix of 100,000 public data sources, and then based on that provides customers real-time insights into ongoing events and new developments, has closed on $475 million in new funding. Dataminr has confirmed that this Series F values the company at $4.1 billion as it gears up for an IPO in 2023.

This Series F is coming from a mix of investors including Eldridge (a firm that owns the LA Dodgers but also makes a bunch of other sports, media, tech and other investments), Valor Equity Partners (the firm behind Tesla and many tech startups), MSD Capital (Michael Dell’s fund), Reinvent Capital (Mark Pincus and Reid Hoffman’s firm), ArrowMark Partners, IVP, Eden Global and investment funds managed by Morgan Stanley Tactical Value, among others.

To put its valuation into some context, the New York-based company last raised money in 2018 at a $1.6 billion valuation. And with this latest round, it has now raised over $1 billion in outside funding, based on PitchBook data. This latest round has been in the works for a while and was rumored last week at a lower valuation than what Dataminr ultimately got.

The funding is coming at a critical moment, both for the company and for the world at large.

In terms of the company, Dataminr has been seeing a huge surge of business.

Ted Bailey, the founder and CEO, said in an interview that it will be using the money to continue growing its business in existing areas: adding more corporate customers, expanding in international sales and expanding its AI platform as it gears up for an IPO, most likely in 2023. In addition to being used journalists and newsrooms, NGOs and other public organizations, its corporate business today, Bailey said, includes half of the Fortune 50 and a number of large public sector organizations. Over the last year that large enterprise segment of its customers doubled in revenue growth.

“Whether it’s for physical safety, reputation risk or crisis management, or business intelligence or cybersecurity, we’re providing critical insights on a daily basis,” he said. “All of the events of the recent year have created a sense of urgency, and demand has really surged.”

Activity on the many platforms that Dataminr taps to ingest information has been on the rise for years, but it has grown exponentially in the last year especially as more people spend more time at home and online and away from physically interacting with each other: that means more data for Dataminr to crawl, but also, quite possibly, more at stake for all of us as a result: there is so much more out there than before, and as a result so much more to be gleaned out of that information.

That also means that the wider context of Dataminr’s growth is not quite so clear cut.

The company’s data tools have indeed usefully helped first responders react in crisis situations, feeding them data faster than even their own channels might do; and it provides a number of useful, market-impacting insights to businesses.

But Dataminr’s role in helping its customers — which include policing forces — connect the dots on certain issues has not always been seen as a positive. One controversial accusation made last year was that Dataminr data was being used by police for racial profiling. In years past, it has been barred by specific partners like Twitter from sharing data with intelligence agencies. Twitter used to be a 5% shareholder in the company. Bailey confirmed to me that it no longer is but remains a key partner for data. I’ve contacted Twitter to see if I can get more detail on this and will update the story if and when I learn more. Twitter made $509 million in revenues from services like data licensing in 2020, up by about $45 million on the year before.

In defense of Dataminr, Bailey that the negative spins on what it does result from “misperceptions,” since it can’t track people or do anything proactive. “We deliver alerts on events and it’s [about] a time advantage,” he said, likening it to the Associated Press, but “just earlier.”

“The product can’t be used for surveillance,” Bailey added. “It is prohibited.”

Of course, in the ongoing debate about surveillance, it’s more about how Dataminr’s customers might ultimately use the data that they get through Dataminr’s tools, so the criticism is more about what it might enable rather than what it does directly.

Despite some of those persistent questions about the ethics of AI and other tools and how they are implemented by end users, backers are bullish on the opportunities for Dataminr to continue growing.

Eden Global Partners served as strategic partner for the Series F capital round.


Early Stage is the premier ‘how-to’ event for startup entrepreneurs and investors. You’ll hear first-hand how some of the most successful founders and VCs build their businesses, raise money and manage their portfolios. We’ll cover every aspect of company-building: Fundraising, recruiting, sales, product market fit, PR, marketing and brand building. Each session also has audience participation built-in – there’s ample time included for audience questions and discussion. Use code “TCARTICLE” at checkout to get 20 percent off tickets right here.

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NFTs could bridge video games and the fashion industry

Non-fungible tokens (NFTs) offer new ways for consumers to collect, wear and trade fashion online, and now that most fashion shows have scaled back or gone virtual, they may become an important tool for the industry.

Because some of the most profitable NFTs are produced by celebrities with teams, it makes sense that music corporations, fashion brands and designers are venturing into the NFT market as well. Just this month, sneaker brand RTFKT Studios garnered $3.1 million in seven minutes by selling crypto collectibles. In December 2020, NFT startup Enjin partnered with Netherlands-based fashion house The Fabricant on a virtual collection. Real-life fashion brands use NFTs for marketing in virtual worlds like Minecraft, plus several Atari and Microsoft video games.

The fundamental value NFTs offer to bridge virtual fashion items with video games is the option to secure custody of the item for use in other games or mobile apps.

“Brands are coming up with some creative solutions because the pandemic is persistent, and fashion is something that is so close to our identities,” said Bryana Kortendick, Enjin’s VP of operations and communications. “You can snap a photo of yourself wearing your Atari-branded NFTs. You’ll also be able to wear them in video games.”

Breakout NFT star Beeple said he imagines a future where fashion NFTs could be redeemed for specific items in physical stores, especially at luxury retailers like his former client Louis Vuitton.

“You can relate NFTs to clothing in new and interesting ways,” he said. “This will be seen as the next chapter of digital art history. This is a continuation of digital art history that started decades ago, by that I mean art made on a computer and distributed through the internet.”

Fashion designers like Schirin Negahbani are already creating NFTs that represent actual clothing. Precisely because multimillion-dollar NFT sales are breaking records, spectators have been prompted to question the role speculative trading plays in this trend.

Textile designer Amber J. Dickinson says fashionable NFTs shouldn’t primarily be viewed as speculative trading opportunities. “The way I think fashion translates to the digital world is to view an NFT as a collectible piece of the garment for history,” said Dickinson, known for hand-made silk scarves and her work with Alexander McQueen. “I would only buy art as a piece that I liked. Whether digital or in the real world, I don’t take an investor’s point of view.”

There are many fashion fans who disagree with Dickinson, preferring to invest through assets like Birkin bags. They may have a different approach to NFTs. The DIGITALAX crypto fashion platform, for example, is being built with a plethora of trading features. As for Dickinson, she said she is still looking for her tribe of crypto-savvy artists on Twitter.

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Daily Crunch: YouTube’s TikTok rival launches in the US

YouTube Shorts comes to the U.S., Amazon starts testing electric delivery vans in San Francisco and new data suggests the impact of Google Play’s recent changes. This is your Daily Crunch for March 18, 2021.

The big story: YouTube’s TikTok rival launches in the US

The YouTube Shorts product allows users to record, edit and share videos of 60 seconds or less, which can be accompanied by licensed music from a variety of industry partners. The company has been testing the feature in India while making Shorts viewable internationally — but until today, U.S. viewers couldn’t actually create short videos of their own.

Sarah Perez took an in-depth look at the Shorts experience, noting that it’s pretty similar to TikTok while lacking some key features, such as intelligent sound syncing.

The tech giants

Amazon begins testing its Rivian electric delivery vans in San Francisco — This makes SF the second of 16 total cities that Amazon expects to bring its Rivian-sourced EVs to in 2021.

Data shows how few Google Play developers will pay the higher 30% commission after policy change — As regular Daily Crunch readers will remember, Google recently announced that it’s cutting the commissions it charges developers on Google Play.

Twitter begins testing a way to watch YouTube videos from the home timeline on iOS — Shortly after Twitter announced it would begin testing a better way to display images on its app, it’s now doing the same for YouTube videos.

Startups, funding and venture capital

Substack faces backlash over the writers it supports with big advances — The startup has lured some of its most high-profile (and controversial) writers with sizable payments.

Homebrew backs Higo’s effort to become the ‘Venmo for B2B payments’ in LatAm — Rodolfo Corcuera, Juan José Fernández and Daniel Tamayo founded the company in January 2020, recognizing that the process of paying vendors for business owners is largely “manual and cumbersome.”

NFT marketplace OpenSea raises $23M from a16z — OpenSea has been one of a handful of NFT marketplaces to explode in popularity in recent weeks.

Advice and analysis from Extra Crunch

MaaS transit: The business of mobility as a service — Amid declining ridership, transportation agencies find new software partners.

Three steps to ease the transition to a no-code company — Despite the many benefits, adopting a no-code platform won’t suddenly turn you into a no-code company.

Snowflake gave up its dual-class shares. Should you? — The mechanism can enable founders to maintain control despite later dilution and may sometimes even grant ironclad control in perpetuity.

(Extra Crunch is our membership program, which helps founders and startup teams get ahead. You can sign up here.)

Everything else

Tech companies should oppose the new wave of anti-LGBTQ legislation — TechNet’s David Edmondson puts the spotlight on a number of states that are currently considering anti-LGBT legislation.

Talking robots with Ford — We interview Ford’s Technical Expert Mario Santillo about its new robotics initiatives.

Startups, get your bug bounty crash course at Early Stage 2021 — Katie Moussouris, founder and chief executive at Luta Security, will give a crash course in bug bounty and vulnerability disclosure programs at TC Early Stage 2021.

The Daily Crunch is TechCrunch’s roundup of our biggest and most important stories. If you’d like to get this delivered to your inbox every day at around 3pm Pacific, you can subscribe here.

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Substack faces backlash over the writers it supports with big advances

Substack has attracted a number of high-profile writers to its newsletter platform — and it’s not a secret that the venture-backed startup has lured some of them with sizable payments.

For example, a New Yorker article late last year identified several writers (Anne Helen Petersen, Matthew Yglesias) who’d accepted “substantial” advances, and others (Robert Christgau, Alison Roman) who’d started Substack newsletters without striking deals with the company.

However, a number of writers publishing via Substack have begun arguing that this strategy makes the company seem less like a technology platform and more like a media company (a familiar debate around Facebook and other online giants) — or at the very least, like a technology platform that also makes editorial decisions subject to scrutiny and criticism.

Last week, the writer Jude Ellison Sady Doyle pointed to writers like Yglesias, Glenn Greenwald and Freddie deBoer (several of whom departed larger publications, supposedly turning to Substack for greater editorial independence) and suggested that the platform has become “famous for giving massive advances [ … ] to people who actively hate trans people and women, argue ceaselessly against our civil rights, and in many cases, have a public history of directly, viciously abusing trans people and/or cis women in their industry.”

Doyle initially said that they would continue publishing via Substack but would not charge a subscription fee to any readers who (like Doyle) identify as trans. Later, they added an update saying they’d be moving to a different platform called Ghost.

Science journalist and science fiction writer Annalee Newitz wrote yesterday that they would be leaving the platform as well. As part of their farewell, they described Substack as a “scam”: “For all we know, every single one of Substack’s top newsletters is supported by money from Substack. Until Substack reveals who exactly is on its payroll, its promises that anyone can make money on a newsletter are tainted.”

Substack has responded with two posts of its own. In the first, published last week, co-founder Hamish McKenzie outlined the details of what the company calls its Substack Pro program — it offers select writers an advance payment for their first year on the platform, then keeps 85% of the writers’ subscription revenue. After that year, there’s no guaranteed payment, but writers get to keep 90% of their revenue. (The company also offers legal support and healthcare stipends.)

“We see these deals as business decisions, not editorial ones,” McKenzie wrote. “We don’t commission or edit stories. We don’t hire writers, or manage them. The writers, not Substack, are the owners. No one writes for Substack — they write for their own publications.”

The second post (bylined by McKenzie and his co-founders Chris Best and Jairaj Sethi) provides additional details about who’s in the program — more than half women, more than one-third people of color, diverse viewpoints but “none that can be reasonably construed as anti-trans” — without actually naming names.

“So far, the small number of writers who have chosen to share their deals — coupled with some wrong assumptions about who might be part of the program — has created a distorted perception of the overall makeup of the group, leading to incorrect inferences about Substack’s business strategy,” the Substack founders wrote.

As for whether those writers are being held to any standards, the founders said, “We will continue to require all writers to abide by Substack’s content guidelines, which guard against harassment and threats. But we will also stick to a hands-off approach to censorship, as laid out in our statement about our content moderation philosophy.”

Greenwald, for his part, dismissed the criticism as “petty Substack censors” whose position boils down to, “because you refuse to remove from your platform the writers I hate who have built a very large readership of their own, I’m taking myself and my couple of dozen readers elsewhere in protest.”

But when I reached out to Newitz (a friend of mine) via email, they told me that the key issue is transparency.

“If Substack won’t tell us who they are paying, we can’t figure out who on the site has grown their audience organically, and who is getting juiced,” Newitz said. “It’s blatantly misleading for people who are trying to figure out whether they can make money on the platform. Plus, keeping their Pro list secret means we can’t verify Substack’s claims about how its staff writers are on ‘all sides’ of the political spectrum.”

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Swell launches its app for asynchronous voice conversations

You might think that Clubhouse is the final word on audio-centric social networks, but a San Francisco startup called Swell is launching its own iOS and Android app focused on voice conversations.

The big difference: While conversations on Clubhouse all happen in real time — meaning that you’ve got to listen live or miss it all (at least for now) — Swell is focused on asynchronous comments. In other words, users post a standalone audio clip that can be up to five minutes in length (with an accompanying image and links), then other users can browse, listen and leave their own audio responses in their own time.

Swell supports audio-only group chats and private conversations, as well as public “Swellcasts” — think of a bite-sized podcast, or a Clubhouse-style conversation that’s structured more like a comment thread than a free-for-all. Users can also promote their public posts through their own pages on the Swellcast website.

Swell is led by husband-and-wife team Sudha Varadarajan and Arish Ali, who previously founded e-commerce company Skava and sold it to Infosys.

Varadarajan (the startup’s CEO) described the app as an attempt to “democratize” audio content creation, with no special equipment or serious production required, and allowing users to talk about anything. (In one example, the Swellcaster was outside talking about their front lawn.)

At the same time, she suggested that the app was created less as a response to Clubhouse and more as a general antidote to social media, where the pair saw increasing polarization and fewer genuine conversations.

Audio is hardly immune to ranting and anger — just look at talk radio. But Varadarajan suggested that making the posts asynchronous doesn’t just make it easier for listeners to catch up; it also improves the quality of the conversation: “People really think about what they’re going to say.”

She added that the company is determined to avoid any ad-based business models and instead make money by charging for premium tools and Swellcasts.

Until now, Swell has only been open to a small group of users. Today it’s launching more broadly, in advance of its session tomorrow at the virtual SXSW, “Voice is transforming our online presence. Why?

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