Music

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YouTube Music turns its Top Charts into playlists

Earlier this year, Apple Music launched some of its top charts as playlist series. Today, YouTube is doing something similar. The company announced it’s making its YouTube Charts available as playlists in YouTube Music to users across the 29 markets where the music service is live. Each market will receive five of these “charts playlists” — three specific to their country, and two global lists, the company says.

The Top 100 Songs and the Top 100 Music Videos will be offered both as local and global playlists, while the Top 20 Trending Songs will be offered as a local playlist.

This latter playlist is updated several times per day in order to offer a real-time view into current music trends in a specific country. It’s also the first “dedicated external signal of the country’s most-viewed new music on the YouTube platform,” Google explained in a blog post this afternoon.

The other Top 100 Songs and Music Video charts are calculated differently and updated less often. The Top Songs is based on the overall performance of a song on YouTube by view count, which includes counting all the official versions of a song — meaning, the official music video, the user-generated content that uses the official song and lyric videos.

The Top Songs chart is updated weekly, according to YouTube’s documentation on how the charts are calculated.

The Top 100 Music Videos ranks the official music videos by view count in the previous week. It’s also updated weekly.

By comparison, YouTube Music’s Top Songs and Music Videos charts seem to have the potential to be more stale than those on rival services. For example, when Apple announced its Top 100 Songs chart would be available both as global and local playlists, it said it would update them daily at 12 AM PT based on Apple Music streams. Spotify’s top charts are also available both as daily and weekly charts.

“The charts, currently topped globally by Ariana Grande’s ‘thank u, next,‘ are the most accurate reflection of what’s happening in music culture and based purely on the number of views from more than 1 billion global music fans on YouTube each month,” noted the post, which does speak to YouTube Music’s strength.

Apple Music and Spotify are both fighting to break into the triple-digit millions in terms of paying customers, while Spotify is nearing 200 million total actives. But YouTube has a billion-plus users from which to generate its data. That’s not insignificant.

The new charts-turned-playlists are now available in the YouTube Music app. The playlists will appear on users’ home screens and be surfaced through search, says YouTube.

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Spotify for Xbox One now works with Cortana voice commands

Spotify arrived on the Xbox One back in August 2017 to give gamers the option of streaming their own tunes while in a gaming session. Today, Spotify is upgrading its app with a few key additions, including most notably support for Cortana voice control, along with other personalization features. With Cortana, gamers will be able to speak their music requests instead of using the controller. That means they can command the music — including being able to play, skip and pause songs — without having to leave their current gaming session, Spotify says.

Before, gamers would have to use Spotify Connect via an app on their phone, tablet or laptop to control or change the music while gaming.

For example, you’ll be able to say things like “Hey, Cortana, play my playlist on Spotify,” or “Hey Cortana, play my Discover Weekly on Spotify.”

This upgrade is currently only available in the U.S., however.

The new app is also introducing an updated experience that’s designed to make it easier for Spotify users to access recently played songs, plus your “Made for You” hub, and your music library.

Previously, Xbox One users only had access to basic Spotify controls, like play, pause, and skip plus visuals like the cover art and artist and song name. Now, they have personalized content recommendations, and the ability to playback content right from the Guide menu.

This part of the update is rolling out more broadly, including the U.S., as well as in Argentina, Australia, Austria, Belgium, Brazil, Canada, Chile, Colombia, Czech Republic, Denmark, Finland, France, Germany, Greece, Hong Kong, Hungary, Ireland, Italy, Japan, Mexico, Netherlands, New Zealand, Norway, Poland, Portugal, Singapore, Slovakia, Spain, Sweden, Switzerland, Taiwan, Turkey and the U.K.

Options like repeat and shuffle are available, too, as are a selection of curated gaming playlists, over on Spotify’s “Gaming Hub” if you get stumped as to what to play.

In the future, updates to this Enhanced Background Mode, as Spotify calls the new experience, may include the ability to promote game specific content for major game launches, Spotify says.

The update will require the latest version of the Spotify app, which can be downloaded from the Microsoft Store, the company notes.

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Plex teams with TIDAL to bring a discounted streaming music subscription to its media app

Media center app Plex today announced a partnership with streaming music service TIDAL, offering discounted access to TIDAL’s 60 million tracks and 244,000+ music videos for Plex Pass subscribers. The Plex Pass is the media center app’s own subscription program, which adds support for watching and recording from live TV as well as other premium features and advanced controls.

Now, Plex Pass holders will be able to add TIDAL into the mix for $8.99 per month, instead of its usual $9.99 per month price. It’s not a steep discount, but one that could prove compelling for serious Plex users who have already centralized their access to entertainment within the Plex app.

Over the past year or so, Plex has doubled down on its mission to become a one-stop shop for all your media, having added support for podcasts, streaming TV (by way of a digital antenna) and a DVR, personalized news, and, most recently, web shows. This is in addition to the software’s ability to organize your home media collections of movies, TV shows, personal video, music and photos.

The company’s goal is to capitalize on its expansive entertainment library in order to offer better recommendations across media types. That is — it could suggest podcasts or web shows based on the TV or music you enjoy, for example.

Plex customers who add TIDAL will have access to the streamer’s entire music catalog, along with artist recommendations for those who aren’t already in your media library, as well as a feature that will display the missing albums from artists in your library. The service also offers artist radio, discovery radio for finding new tunes from those not in your library, new release recommendations, music videos and more.

Universal search and playlists features will combine results from Plex’s library and TIDAL, allowing you to locate tracks from your local library alongside TIDAL tracks, and add both to the same playlist.

“An incredible music and media experience is something that matters to both TIDAL and Plex users, and the addition of TIDAL’s music streaming service within Plex makes it the only solution that organizes and curates all major media types in one place,” said Keith Valory, CEO of Plex, in a statement. “It’s another step closer to making all the media that matters to you accessible from one app, on any device, anytime.”

TIDAL will also point its subscribers to Plex as a part of the deal, giving them access to Plex’s music features and mobile app, or, in the case of Tidal HiFi subscribers ($19.99/mo), they get a Plex Pass for free.

New customers to TIDAL can sign up for a combo TIDAL/Plex Pass subscription for $9.99/mo or $19.99/mo if they want TIDAL HiFi. (Normally a Plex Pass on its own is $3.33/mo if paid annually).

Once signed up for TIDAL, Plex users can quickly merge their subscription to Plex from here.

The TIDAL subscription is available on Plex mobile and web* to start, with expansion to other TV platforms expected to follow.

*Versions required: Plex Media Server 1.14.0.5470; iOS 5.7.2; Android 7.8.0; Web 3.77.2 

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Social music app Playlist lets you listen to music with others in real time

A new app called Playlist aims to make music a more social experience than what’s offered today by the major music platforms like Apple Music, Pandora or Spotify, for example. In Playlist, you can find others who share your musical tastes and join group chats where you listen to playlists together in real time. You can collaborate on playlists, too.

The app, backed by investment from Stanford’s StartX fund, was founded by Karen Katz and Steve Petersen, both Stanford engineers and serial entrepreneurs. Katz previously co-founded AdSpace Networks and another social music platform, Jam Music. She also was a founding executive team member at Photobucket, and founded a company called Project Playlist, which was like a Google search for music back in the Myspace era.

Peterson, meanwhile, has 35 patents and more than a decade of experience in digital music. In the early 2000s he created the software architecture and ran the team at PortalPlayer Inc., which powered the iPod’s music player and was later sold to Nvidia for $357 million. Afterwards, he was CTO at Concert Technology, a technology incubator and intellectual property company with a focus on mobile, social and digital music services.

“The world has gone social, but music has been largely left behind. That’s a real gap,” explains Katz, as to why the founders wanted to build Playlist in the first place.

“Ever since we started listening to music from our mobile phones, it’s become an isolated experience. And music is the number one thing we do on our phones,” she says.

The idea they came up with was to unite music and messaging by synchronizing streams, so people could listen to songs together at the same time and chat while they do so.

During last year’s beta testing period, Playlist (which was listed under a different name on the App Store), saw a huge number of engagements as a result of its real-time nature.

“Out of the gate, we saw 10 times the engagement of Pandora. People have, on average, 60 interactions per hour — like chats, likes, follows, joins, adds and creates,” Katz says. 

Under the hood, the app uses a lot of technology beyond just its synchronized streaming. It also leverages machine learning for its social recommendations, as well as collaborative playlists, large-scale group chat, and behavior-based music programming, and has “Music Match” algorithms to help you find people who listen to the same sort of things you do.

The social aspects of the app involves a following/follower model, and presents playlists from the people you follow in your home feed, much like a music-focused version of Instagram. A separate Discover section lets you find more people to follow or join in other popular listening and chat sessions.

At launch, the app has a catalog of more than 45 million songs and has a music license for the U.S. It plans to monetize through advertising.

The core idea here — real-time music listening and chat — is interesting. It’s like a Turntable.fm for the Instagram age. But the app sometimes overcomplicates things, it seems. For example, importing a playlist from another music app involves switching over to that app, finding the playlist and copying its sharing URL, then switching back to Playlist to paste it in a pop-up box. It then offers a way for you to add your own custom photo to the playlist, which feels a little unnecessary as the default is album art.

Another odd choice is that it’s difficult to figure out how to leave a group chat once you’ve joined. You can mute the playlist that’s streaming or you can minimize the player, but the option to “leave” is tucked away under another menu, making it harder to find.

The player interface also offers a heart, a plus (+), a share button, a mute button and a skip button all on the bottom row. It’s… well… it’s a lot.

But Katz says that the design choices they’ve made here are based on extensive user testing and feedback. Plus, the app’s younger users — often high schoolers, and not much older than 21 — are the ones demanding all the buttons and options.

It’s hard to argue with the results. The beta app acquired more than 500,000 users during last year’s test period, and those users are being switched over to the now publicly available Playlist app, which has some 80K installs as of last week, according to Sensor Tower data.

The company also plans to leverage the assets it acquired from the old Project Playlist, which includes some 30 million emails, 21 million Facebook IDs and 14 million Twitter IDs. A “Throwback Thursday” marketing campaign will reach out to those users to offer them a way to listen to their old playlists.

The startup has raised $5 million in funding (convertible notes) from Stanford StartX Fund, Garage Technology Ventures, Miramar Ventures, IT-Farm, Dixon Doll (DCM founder), Stanford Farmers & Angels, Zapis Capital and Amino Capital.

The Palo Alto-based company is a team of six full-time.

Playlist is a free download for iOS. An Android version is in the works.

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Spotify’s Premium app gets a big makeover

Spotify has given its app a big makeover, with a focus on making the experience better for its paying subscribers. The company has simplified the app’s navigation by reducing the numbers of buttons and has revamped its Search page, which now incorporates elements previously found in “Browse,” like favorite genres or music to match a mood. And it’s given its Radio service a redesign as well, with the addition of new and easy-to-use Artist Radio Playlists.

The most immediately noticeable change is the app’s navigation.

Spotify has always felt a bit cluttered, with its five navigation buttons – Home, Browse, Search, Radio and My Library. The new app has chopped this down to just three buttons – Home, Search, and My Library.

Recommendations will appear on the Home page, following the update, while discovery is powered by Search.

The Search page lets you seek out artists, albums and podcasts by typing in queries, as before. But the page is also now personalized, showing your own “Top Genres” beneath the search bar – like R&B, Rock, Hip-Hop, Kids & Family – or whatever else you listen to. This is helpful because users’ tastes can change over time, or they may share their individual Spotify account with others (instead of opting for a Family plan), which can garble their recommendations.

The “Browse” section has moved to this Search page in the redesign, and points to things like top charts, Spotify’s programmed playlists, your own personalized playlists, plus music by mood, genre, activity and more.

The Radio section got an overhaul, too.

With the update, you can search for a favorite artist or song, then immediately start listing to one of the brand-new Artist Radio playlists. These are personalized, endless streams based on your own tastes – and they’re updated regularly to stay fresh, Spotify notes.

This latter feature appears to address a recent challenge from Pandora, which tapped into its Music Genome to create dozens of personalized playlists for its users. Spotify, effectively, is turning its radio stations into personalized playlists now, too. Instead of asking users to thumbs up/down its selections, it will just create stations it knows you’ll like, based on the data it already has. These radio playlists also work offline, the company says.

The updated app for Premium users follows a redesign of the app for its free customers, announced back in April. That redesign made it easier for free users to access over a dozen playlists with songs on demand, which also included the option to skip tracks. It also reduced the number of tabs in the bottom navigation.

This week, the company also rolled out a new Android Wear application. Plus, the third-party manufacturer Mighty launched a new version of its Spotify player, which is basically an iPod Shuffle-like device that works with Spotify instead of Apple Music or iTunes.

The changes to the Spotify app comes at a time when the company is losing ground in North America to Apple. Pandora was just snatched up by Sirius XM for $3.5 billion, which could make for increased competition in the U.S., as well.

Spotify’s Premium Subscribers grew to 83 million in Q2 2018, and it has 180 million monthly actives, including free customers, which still puts it ahead of the competition, in terms of user base size.

Spotify says the redesign for Spotify Premium is rolling out to all Premium subscribers on iOS and Android globally starting today.

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Winamp returns in 2019 to whip the llama’s ass harder than ever

The charmingly outdated media player Winamp is being reinvented as a platform-agnostic mobile audio app that brings together all your music, podcasts and streaming services to a single location. It’s an ambitious relaunch, but the company behind it says it’s still all about the millions-strong global Winamp community — and as proof, the original desktop app is getting an official update as well.

For those who don’t remember: Winamp was the MP3 player of choice around the turn of the century, but went through a rocky period during Aol ownership (our former parent company) and failed to counter the likes of iTunes and the onslaught of streaming services, and more or less crumbled over the years. The original app, last updated in 2013, still works, but to say it’s long in the tooth would be something of an understatement (the community has worked hard to keep it updated, however). So it’s with pleasure that I can confirm rumors that substantial updates are on the way.

“There will be a completely new version next year, with the legacy of Winamp but a more complete listening experience,” said Alexandre Saboundjian, CEO of Radionomy, the company that bought Winamp (or what remained of it) in 2014. “You can listen to the MP3s you may have at home, but also to the cloud, to podcasts, to streaming radio stations, to a playlist you perhaps have built.”

“People want one single experience,” he concluded. “I think Winamp is the perfect player to bring that to everybody. And we want people to have it on every device.”

Laugh if you want but I laugh back

Now, I’m a Winamp user myself. And while I’ve been saddened by the drama through which the iconic MP3 player and the team that created it have gone (at the hands of TechCrunch’s former parent company, Aol), I can’t say I’ve been affected by it in any real way. Winamp 2 and 5 have taken me all the way from Windows 98 SE to 10 with nary a hiccup, and the player is docked just to the right of this browser window as I type this. (I use the nucleo_nlog skin.)

And although I bear the burden of my colleagues’ derisive comments for my choice of player, I’m far from alone. Winamp has as many as a hundred million monthly users, most of whom are outside the U.S. This real, engaged user base could be a powerful foot in the door for a new platform — mobile-first, but with plenty of love for the desktop too.

“Winamp users really are everywhere. It’s a huge number,” said Saboundjian. “We have a really strong and important community. But everybody ‘knows’ that Winamp is dead, that we don’t work on it any more. This is not the case.”

This may not come as a shock to Winamp users still plugged into the scene: Following years of rumors, an update to the desktop player leaked last month, bringing it from version 5.666 to 5.8. It was a pleasant surprise to users who had encountered compatibility problems with Windows 10 but had taken the “more coming soon” notice on the website with a massive grain of salt.

This kind of thing happens a lot, after all: an old property or app gets bought, promises are made and after a few years it just sort of fades away. So a free update — in fact, 5.8 eliminates all paid options originally offered in the Pro version — bringing a bucketful of fixes is like Christmas coming early. Or late. At any rate it’s appreciated.

The official non-leaked 5.8 release should come out this week (the 18th, to be precise), and won’t be substantially different from the one we’ve been using for years or the one that leaked. Just bug and compatibility fixes that should keep this relic trucking along for a few years longer.

The update to the desktop app is basically a good faith advance payment to the community: Radionomy showing they aren’t just running away with the property and slapping the brand on some random venture. But the real news is Winamp 6, which Saboundjian says should come out in 2019.

“What I see today is you have to jump from one player to another player or aggregator if you want to listen to a radio station, to a podcast player if you want to listen to a podcast — this, to me, is not the final experience,” he explained. It’s all audio, and it’s all searchable in one fashion or another. So why isn’t it all in one place?

The planned version of Winamp for iOS and Android will be that place, Saboundjian claims. On desktop, “the war is over,” he said, and between the likes of iTunes and web apps, there’s not much room to squeeze in. But mobile audio is fractured and inconvenient.

While Saboundjian declined to get into the specifics of which services would be part of the new Winamp or how the app would plug into, say, your Spotify playlists, your Google Music library, your Podcasts app, Audible and so on, he seemed confident that it would meet the needs he outlined. There are many conversations underway, he said, but licensing and agreements aren’t the main difficulty, and of course release is still quite a ways out. The team has focused on creating a consistent app across every platform you might want encounter mobile audio. A highly improved search will also play a role — as it ought to, when your media is all lumped into one place.

No word on whether it will retain its trademark intro upon installation — “WINAMP. It really whips the llama’s ass.” I certainly hope so.

This lack of specifics is a bit frustrating, of course, but I’m not worried about vaporware. I’m worried that other services will insist on the fragmented experience they’ve created that serves their interests better than ours. But if Radionomy can navigate these tricky waters and deliver a product even a little like what they’ve described, I’ll be thrilled (and my guess is tens of millions more will be, as well). And if not, well, we’ll always have the original.

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SoundCloud finally lets more musicians monetize four years later

SoundCloud moves painfully slow for a tech company, and no one feels that pain more than musicians who are popular on the site but don’t get paid. 10 years since SoundCloud first launched, and four years since it opened an invite-only program allowing just the very biggest artists to earn a cut of the ad and premium subscription revenue generated by their listeners, SoundCloud is rolling out monetization.

Now, musicians 18 and up who pay SoundCloud $8 to $16 per month for hosting, get over 5000 streams per month, and only publish original music with no copyright strikes against them can join the SoundCloud Premier program. They’ll get paid a revenue share directly each month that SoundCloud claims “meets or beats any other streaming service”. However, the company failed to respond to TechCrunch’s inquiries about how much artists would earn per 1000 ad-supported or premium subscription listener streams, or how many streams would earn them a dollar.

Beyond payouts, Premier members can post new tracks instantly without having to wait to be discoverable or monetizable, they’ll get real-time feedback from fans, and extra discovery opportunities from SoundCloud. The company hopes monetization will lure more creators to join the 20 million on the platform, get them to promote their presence to drive listens, and imbue the site with exclusive artist-uploaded content that attracts listeners.

It’s been a year since SoundCloud raised an $170 million emergency funding round to save itself from going under after it was forced to lay off 40 percent of its staff. That deal arranged by Kerry Trainor saw him become CEO and the previous co-founder and CEO Alex Ljung step aside. With underground rap that had percolated on SoundCloud for years suddenly reaching the mainstream, the startup seemed to have momentum.

The problem is the slow speed of progress at SoundCloud has allowed competitors with monetization baked in to catch up to its formerly unique offering. YouTube Music’s launch in June 2018 combined premium major label catalogues with user uploaded tracks in a cohesive streaming service. And last month, Spotify began allowing indie artists to upload their music directly to the platform. Meanwhile, licensing distribution services like Dubset are making it legal for big streaming apps to host remixes and DJ sets. Together, these make more of the rarities, live versions, and hour-long club gigs that used to only be on SoundCloud available elsewhere.

The delays seem in part related to the fact that SoundCloud wants to be Spotify as well as SoundCloud. It’s refused to back down from its late entry into the premium streaming market with its $9.99 per month SoundCloud Go+ subscription. As I previously recommended, “to fix SoundCloud, it must become the anti-Spotify” by ruthlessly focusing on its differentiated offering in artist-uploaded music. Instead, another year has passed with only a light revamping of SoundCloud’s homescreen and some more personalized playlists to show for it.

SoundCloud proudly announced it had reached $100 million in revenue in 2017, and exceeded its financial and user growth targets. But filings reveal it lost over $90 million in 2016 and it was previously projected to not become profitable until 2020. That begs the question of whether SoundCloud will have to raise again, or might once again open itself to acquisitions. With Apple, Google, Amazon, and Spotify all in fierce competition for the future of streaming, any of them might be willing to pay up for music that fans can’t easily find elsewhere.

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Ne-Yo wants to make Silicon Valley more diverse, one investment at a time

Dressed in a Naruto t-shirt and a hat emblazoned with the phrase “lone wolf,” Ne-Yo slouches over in a chair inside a Holberton School classroom. The Grammy-winning recording artist is struggling to remember the name of “that actor,” the one who’s had a successful career in both the entertainment industry and tech investing.

“I learned about all the things he was doing and I thought it was great for him,” Ne-Yo told TechCrunch. “But I didn’t really know what my place in tech would be.”

It turns out “that actor” is Ashton Kutcher, widely known in Hollywood and beyond for his role in several blockbusters and the TV sitcom That ’70s Show, and respected in Silicon Valley for his investments via Sound Ventures and A-Grade in Uber, Airbnb, Spotify, Bird and several others.

Ne-Yo, for his part, is known for a string of R&B hits including So Sick, One in a Million and Because of You. His latest album, Good Man, came out in June.

Ne-Yo, like Kutcher, is interested in pursuing a side gig in investing but he doesn’t want to waste time chasing down the next big thing. His goal, he explained, is to use his wealth to encourage people like him to view software engineering and other technical careers as viable options.

“Little black kids growing up don’t say things like ‘I want to be a coder when I grow up,’ because it’s not real to them, they don’t see people that look like me doing it,” Ne-Yo said. “But tech is changing the world, like literally by the day, by the second, so I feel like it just makes the most sense to have it accessible to everyone.”

Last year, Ne-Yo finally made the leap into venture capital investing: his first deal, an investment in Holberton School, a two-year coding academy founded by Julien Barbier and Sylvain Kalache that trains full-stack engineers. The singer returned to San Francisco earlier this month for the grand opening of Holberton’s remodeled headquarters on Mission Street in the city’s SoMa neighborhood.

Holberton, a proposed alternative to a computer science degree, is free to students until they graduate and land a job, at which point they are asked to pay 17 percent of their salaries during their first three years in the workforce.

It has a different teaching philosophy than your average coding academy or four-year university. It relies on project-based and peer learning, i.e. students helping and teaching each other; there are no formal teachers or lecturers. The concept appears to be working. Holberton says their former students are now employed at Apple, NASA, LinkedIn, Facebook, Dropbox and Tesla.

Ne-Yo participated in Holberton’s $2.3 million round in February 2017 alongside Reach Capital and Insight Venture Partners, as well as Trinity Ventures, the VC firm that introduced Ne-Yo to the edtech startup. Holberton has since raised an additional $8 million from existing and new investors like daphni, Omidyar Network, Yahoo! co-founder Jerry Yang and Slideshare co-founder Jonathan Boutelle.

Holberton has used that capital to expand beyond the Bay Area. A school in New Haven, Conn., where the company hopes to reach students who can’t afford to live in tech’s hubs, is in development.

The startup’s emphasis on diversity is what attracted Ne-Yo to the project and why he signed on as a member of the board of trustees. More than half of Holberton’s students are people of color and 35 percent are women. Since Ne-Yo got involved, the number of African American applicants has doubled from roughly 5 percent to 11.5 percent.

“I didn’t really know what my place in tech would be.”

Before Ne-Yo’s preliminary meetings with Holberton’s founders, he says he wasn’t aware of the racial and gender diversity problem in tech.

“When it was brought to my attention, I was like ‘ok, this is definitely a problem that needs to be addressed,’” he said. “It makes no sense that this thing that affects us all isn’t available to us all. If you don’t have the money or you don’t have the schooling, it’s not available to you, however, it’s affecting their lives the same way it’s affecting the rich guys’ lives.”

Holberton’s founders joked with TechCrunch that Ne-Yo has actually been more supportive and helpful in the last year than many of the venture capitalists who back Holberton. He’s very “hands-on,” they said. Despite the fact that he’s balancing a successful music career and doesn’t exactly have a lot of free time, he’s made sure to attend events at Holberton, like the recent grand opening, and will Skype with students occasionally.

“I wanted it to be grassroots and authentic.”

Ne-Yo was very careful to explain that he didn’t put money in Holberton for the good optics.

“This isn’t something I just wanted to put my name on,” he said. “I wanted to make sure [the founders] knew this was something I was going to be serious about and not just do the celebrity thing. I wanted it to be grassroots and authentic so we dropped whatever we were doing and came down, met these guys, hung out with the students and hung out at the school to see what it’s really about.”

What’s next for Ne-Yo? A career in venture capital, perhaps? He’s definitely interested and will be making more investments soon, but a full pivot into VC is unlikely.

At the end of the day, Silicon Valley doesn’t need more people with fat wallets and a hankering for the billionaire lifestyle. What it needs are people who have the money and resources necessary to bolster the right businesses and who care enough to prioritize diversity and inclusivity over yet another payday.

“Not to toot the horn or brag, but I’m not missing any meals,” Ne-Yo said. “So, if I’m going to do it, let it mean something.”

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iHeartRadio opens up its playlists to all users with launch of Playlist Radio

iHeartRadio is best known for its free service offering thousands of live, streaming AM and FM radio stations and its ability to create your own custom station, similar to Pandora. Today, the company is adding a new feature for all users – both free and paid – that blurs the lines between streaming radio and the typically premium-only option of using playlists: Playlist Radio.

Like most playlists, Playlist Radio isn’t a random assortment of songs.

Instead, the songs it plays are curated and programmed by radio DJs and other iHeartRadio staff. That means there isn’t an algorithm deciding what to play next – you’re listening to a selection of songs an actual person has put together.

However, because it’s still “radio” you can’t do some of the things you could with the premium product’s playlists – like reorganizing tracks, adding or removing songs, or playing a particular song in the playlist on-demand. Instead, the songs will play in their given order, though you can skip up to six songs per hour within a playlist – the same as free users have when they’re listening to iHeartRadio’s artist stations.

The addition of Playlist Radio opens up iHeartRadio’s over 1,000 existing playlists to a wider audience.

This includes all nearly the artist-created, genre-based, activity-focused, musical era-focused, and theme-based playlists, with the exception of a handful of playlists that have too few songs to turn into a radio experience.

Before now, those playlists were only available behind a paywall for iHeartRadio Plus, the $4.99/month on-demand music service, and iHeartRadio All Access, which offers unlimited access to millions of songs and offline listening.

In addition, the playlists will be updated every week, save for those where it doesn’t make sense – like those focused on a particular era, like ’60’s music, for example.

“One of the things we’re most excited about and the area where i feel like we really excel is in music curation,” explains iHeart’s Chief Product Officer, Chris Williams, of how Playlist Radio came to be. “We have some of the greatest music curators on the planet within iHeartRadio. We have the best radio programmers, music directors, and program directors who are out there curating every single day for their radio stations. So we tapped into the resources that we had there, as well as finding some external expertise.”

The idea is that these programmers have already built these great, curated listening experiences, but because free products can only offer radio play as opposed to on-demand streams, the subset of iHeartRadio’s 110+ million registered users who aren’t on a subscription tier were missing out.

However, Playlist Radio could also drive those free users to upgrade, in order to better take advantage of the on-demand options.

“I think it’s exposing a great listening experience to our existing free users, and offering them up a listening opportunity that doesn’t exist on the free tier right now,” says Williams. “I think what radio does a brilliant job at is programming formatically. And I think what Playlist Radio does a great job of is offering listening occasions that are thematic,” he notes. The new products aims to marry the two. 

While on-demand music services are growing, there’s an increased interest in lean-back modes of listening, even for on-demand users who can play whatever they choose. For example, Pandora just challenged Spotify with the launch of dozens of personalized playlists based on its Music Genome; and Spotify, of course, is still well-loved for its popular “Discover Weekly” personalized playlist and its curated trendsetters, like RapCaviar.

Of course, the launch also comes at a time when iHeartRadio is facing steep competition from those competitors and others, including Apple and Amazon, in music.

In fact, the streaming service’s parent company, iHeartMedia – which also owns hundreds of radio stations, a concert business, and a 90% stake in Clear Channel Outdoor’s billboard company – recently filed for Chapter 11 bankruptcy. Consumers won’t know the difference when it comes to using iHeartRadio’s streaming service in the near-term. However, Pandora investor Liberty Media (SiriusXM’s owner) was interested in a deal with iHeartMedia which could impact iHeartRadio’s business in the future.

Playlist Radio is rolling out today to all iHeartRadio users on iOS, Android and desktop, before making its way to other platforms.

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Hip hop finds its beat in the startup scene

Hip hop stars are taking their reputations to Wall Street and Sand Hill road.

Unlike their rock star brethren, who’ve historically been disinterested in dabbling with startups, quite a few hip hop artists have amassed good-sized portfolios. They’ve seen a few big hits too, most recently including a massive up round for zero-commission stock trading platform Robinhood, which counted Jay-Z, Nas and Snoop Dogg among its earlier backers.

But just how deep does the hip hop-startup relationship go and where is it headed? To shed some light on that question, we put together a review of Crunchbase data on the startup investment activity of famous musicians. We looked at both hip hop and pop stars, culling a list of 21 artists who are either active investors or have joined one or more rounds in recent years.

The general conclusion: Artists are doing more deals, raising more funds and backing more companies that graduate to up rounds and exits. Here are a few examples:

  • Besides getting a slice of Robinhood, Jay-Z and his entertainment company, Roc Nation, also saw an early portfolio company, flight club startup JetSmarter, go on to raise financing a year ago at a reported valuation more than $1.5 billion. Roc Nation also made headlines this week for investing in Promise, a startup providing alternatives to incarceration for people who can’t afford bail.
  • QueensBridge Venture Partners, the investment fund co-founded by Nas, was an early-stage investor in video doorbell maker Ring, which Amazon just bought for $1.1 billion. The firm could also see some paper gains this week in the much-anticipated market debut of Dropbox, which it backed in a 2014 Series C round. In addition, QueensBridge participated in a $25 million Series B round for cryptocurrency trading platform Coinbase back in 2013. Coinbase’s last reported valuation was around $1.6 billion.
  • Casa Verde Capital, a cannabis-focused venture fund co-founded by Snoop Dogg, has closed its debut fund with $45 million. Just this week it backed a $3.5 million round for vape manufacturer Green Tank.

That’s not to say everything a star touches turns multi-platinum. We found quite a few flops in their portfolios and assembled a list here of 10 startups now shuttered that counted a hip hop or pop star among their backers.

Becoming and remaining famous requires many of the same skills and qualities as running an entrepreneurial venture, including an exceptional degree of tenacity.

Of course, flops are part of life for early-stage investors, so there’s no reason we’d expect celebrities to be an exception. Moreover, most of the now-shuttered companies were not heavily capitalized by venture standards.

However, there are some higher-profile or more heavily funded companies on the flop list. One is Washio, a laundry delivery service, which raised $17 million from Nas and 20 other investors before hanging itself out to dry in 2016. Another is Viddy, an app for shooting and sharing video clips backed by Roc Nation.

Why the rich, hip and famous like startups

A number of venture pundits and pop culture mavens have previously pontificated why celebrities, and hip hop stars in particular, are drawn to startups.

One possibility is that rap music and startups resemble each other at the earliest stages, postulates Cam Houser, CEO of the 3 Day Startup Program. Rap music starts with a rapper and a producer. This duality, he says, is similar to the beginning stages of a startup, which commonly also brings together two people, a business and a technical co-founder.

Rap and startup entrepreneurship are also both longshot career tracks that celebrate raw ambition and unabashed self-promotion. To make it, however, both require an excellent grasp of what sells in the real world.

Branding is perhaps the most common rationale provided for the celebrity-startup connection. With their massive fan bases, swooning coverage and millions of social media followers, celebrities can certainly help get the word out about a new product or app. That said, the attention usually works only if said product also has compelling attributes of its own.

One of the less controversial explanations is that becoming and remaining famous requires many of the same skills and qualities as running an entrepreneurial venture, including an exceptional degree of tenacity.

It’s also true that in venture capital and the music business, it’s the hits that matter. It helps that we’re seeing plenty of those. 

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