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Media & Entertainment

Taylor Swift’s ‘Midnights’ is the priciest digital album Tencent has sold • ZebethMedia

Taylor Swift’s latest album “Midnights” has dropped, and it might be setting a new standard for China’s digital music industry. Within a day of its release, the 13-track album, priced at 35 yuan or $4.83, has racked up nearly 200,000 copies on Tencent’s QQ, one of the largest music streaming platforms in China. While $4.83 doesn’t seem much — the album starts at $11.99 on the artist’s own online store — it’s the highest price ever set for digital albums in the market, which could indicate two things: the upstream cost of making albums has risen, or Chinese users are increasingly willing to pay for online music. China’s digital music industry has taken quite a different route from the Western one. For a long time, music piracy was rampant across online and offline media, so streaming platforms like QQ came up with a variety of perks to get people to foot the bill. A lot of QQ Music’s paid users are in effect signed up for bundle deals that give them access to other Tencent-affiliated products, such as video streaming, manga, or membership to Tencent-backed JD.com’s online mall. Subscribers get all sorts of value-added services within QQ Music’s platform as well, such as hi-fi streaming, access to online concerts, and customized app layouts. It’s hard to say whether the $4.83 pricing is the new pricing norm or simply a reflection of the fandom for Swift in China. After all, the American artist is one of the few foreign celebrities who reach 10 million followers on Weibo, China’s answer to Twitter. So far only Jay Chou, the mandopop (Mandarin pop music) king whose songs are known to everyone from my generation, has matched Swift’s pricing power at 30 yuan per album copy. In the wake of Beijing’s crackdown on internet monopolies, Tencent’s bargaining power on licensing deals might have weakened. For years, Tencent Music Entertainment, the firm’s music arm, bled money on securing exclusive rights from UMG, Warner Music, and Sony Music Entertainment. That’s no longer the case. Swift’s latest digital release is also available through QQ Music’s archrival NetEase Music, for instance. The good news is an increasing number of users are paying for Tencent’s music offerings, though the penetration rate remains modest. In Q2, TME reported 82.7 million subscribers across its three music streaming apps, up 25% year-over-year; a total of 593 million people use these services every month, meaning only 14% of them are paying. In comparison, 188 million, or 43%, of Spotify’s 433 million users are premium subscribers in Q2. Spotify also has a more profitable product. Looking strictly at their music services (TME is a more profitable business overall thanks to its more lucrative live streaming platform that lives off virtual gift sales), Spotify’s premium average revenue per user (premium ARPU) from Q2 was €4.54 ($4.48). TME’s average revenue per paying user (ARPPU) was 8.5 yuan or $1.17.

Podcast app Pocket Casts goes open source • ZebethMedia

Popular podcast platform Pocket Casts has released its mobile clients under an open source license. WordPress parent company Automattic acquired Pocket Casts last July, having been acquired by a group of public radio companies, including NPR, back in 2018. Pocket Casts is one of the most popular “podcatcher” apps outside the big tech ecosystems of Google, Apple, and Spotify, allowing users to search and subscribe to podcasts for free, with premium features such as desktop apps available for a fee. It perhaps should come as little surprise that Automattic has elected to push the Pocket Casts app code onto GitHub, given that Automattic founder and CEO Matt Mullenweg is a huge proponent of open source — and WordPress is among the top open source projects on the planet. By making Pocket Casts open source, this means that anyone can access the code, fix bugs, create new features, and even fork it to build their own competing service on top of the Pocket Cast codebase. The Android and iOS apps are available now under a Mozilla Public License 2.0, a copyleft license that stipulates all derivative projects or modifications have to be released under the same license.

How Zette plans to let people access paywalled news with a single monthly subscription • ZebethMedia

A new startup wants to help online media outlets make money by making it easier for consumers to access paywalled content without being locked in to multiple subscriptions. Demoing as part of the Battlefield 200 cohort at TC Disrupt this week, Zette is trying to achieve something that others before have tried. Since the dawn of time (well, at least since the advent of the web), digital media businesses have sought new ways to make money. While traditional newspapers and magazines’ path to monetization was relatively straightforward, insofar as they charged money for a physical product (usually filled with paid advertising), the online sphere has had to flirt with a multitude of models, from advertising and events, to — increasingly, it seems — paywalls. But while paywalls promise clear and predictable income, it’s a difficult model to scale outside of the major outlets such as the New York Times. People don’t want (or can’t afford) dozens of subscriptions, but that doesn’t mean that they’re unwilling to pay something to access individual articles if they’re given the option to do so. There are already subscription-based services such as Apple News+, which bundles stories from hundreds of publications, and pay-per-article alternatives such as Blendle, which allow publications to charge microtransactions to read one-off articles. Zette sits somewhere in the middle, charging a monthly $9.99 subscription for access to 30 articles from its partner publications, though it is also dabbling with different pricing plans for those who want to purchase more credits. However, if the user doesn’t consume their credits in a given month, this doesn’t roll over to the next month — everything resets. The story so far Zette was founded out of San Francisco in 2020 by former Forbes reporter Yehong Zhu, and after raising some $1.7 million in seed funding last year, the company is officially arriving in private beta this week for waitlist members, ahead of an anticipated public launch early next year. For now, Zette has inked deals with New Scientist, Forbes, McClatchy, Boone Newspapers, and Haaretz, with plans to bolster this by “hundreds” more in the coming year. So, how does it all work? Well, the user downloads and installs a browser extension, signs up for a Zette account and subscription, and when Zette detects a paywall on a partner website, it invites the user to unlock the article by paying a single credit. Zette in action Image Credits: Zette The company said that it’s also considering allowing users to roll over some of their credits, though with a time limit on when they need to be used by. Perhaps the crucial point worth noting here is that in contrast to something like Apple News+, rather than serving as an aggregator, Zette’s pitch to publishers is that it enables them to retain relationships with their readers, given that their content remains on their own website. “Publishers control the display and messaging of their content, unlike within Apple News’ ecosystem,” Zhu said. “Readers can open an article from anywhere — Twitter, Facebook, Google, iMessage, Slack, the news websites themselves — and still use Zette to unlock the article.” Zette will be focusing on the U.S. market exclusively at first, but it has aspirations to launch in international markets too. “We’re an American company focusing first on U.S. readers,” Zhu said. “We’re investing heavily in marketing and growth, especially as it pertains to getting younger readers — Gen-Zs and millennials — on board.” Business model There are, perhaps, some flaws with this type of model. The benefit of subscribing to a publication directly is that while you might not enjoy everything in it, you will probably find some articles that you like. With a subscription-based, pay-per-article model, you don’t know whether you’re going to like it before committing credits to the cause. On top of that, you might not stumble upon 30 paywalled articles in a given month that you want to read. So for a $10 monthly payment, it’s possible that some subscribers simply won’t get value from it. There are some elements of Blendle’s model which make more sense. There is less pressure on the reader to consume a set number of monthly articles, as it’s built around single microtransactions — put money in your account, and use it whenever you want. But while that may be a more consumer-friendly model, it doesn’t necessary benefit the publication or the company behind the technology. According to Zhu, this type of business model merely encourages “sporadic use rather than sustained readership,” ultimately leading to higher churn and poor monetization. “We also believe that consumers tend to not enjoy the experience of having to put a dollar and cents value on each article they want to read,” Zhu continued. “This causes them to feel ‘nickel and dime-d’. For this reason, Zette took inspiration from video games, where you buy bundles of ‘virtual coins’ up front for in-app purchases: we replace money with credits to distance the customer from the feeling of making a purchase. This makes each transaction low-friction, and also makes it easier to top up on credits every month. We believe that a microtransactions-like experience on the frontend, recurring revenue on the backend, is the best of both worlds.” Moreover, while there are benefits to a traditional news subscription, vis-à-vis readers can consume everything from sports and politics in a single publication, not everyone wants to read a newspaper cover to cover. “Traditional news subscriptions serve one audience very well: heavy readers,” Zhu said. “These are readers who hit paywalls often enough and frequently enough that they decide to become paying patrons of a single outlet. The majority of online readers are light readers: they browse around for news, they only want to read one article at a time so they can’t justify the cost and inconvenience of signing up for a subscription, they’re relatively brand agnostic, they’re price sensitive, and they are largely looking for a diversity of content, rather than just getting all their news

Disney launches web3 experience to celebrate 100 years of Disney music • ZebethMedia

Disney collaborated with Accelerator participant, Obsess, an e-commerce platform known for creating interactive virtual storefronts, to release a new web3 experience for its Disney Music Emporium online store. The 3D 360 virtual experience lets fans discover soundtracks and songs from popular Disney films and TV shows by clicking on various vinyl records and CDs throughout the virtual space. The web3 experience launched this week to give Disney fans access to a virtual storefront with individual displays that highlight various soundtracks from Disney movies and shows like “Encanto,” “Wandavision,” “Turning Red,” “Tomorrowland,” “Hocus Pocus,” “Shang-Chi and the Legend of the Ten Rings,” “Star Wars,” “The Lion King Musical,” and more. Users can click throughout the site to learn about specific titles, listen to music and add CDs or records to their online cart. To celebrate Disney’s 100th anniversary—which occurs in 2023—users can also click through a musical timeline titled “Disney100: The Wonder of Disney Music” to enjoy a century of music from fan-favorite titles, such as the 1928 debut of Mickey and Minnie Mouse in “Steamboat Willie,” “Snow White and the Seven Dwarfs” in 1937, “Fantasia” in 1940, “Moana” in 2016 and so forth. “We are excited to collaborate with Obsess to launch an exciting new shopping experience for our Disney Music Emporium store. As we prepare to celebrate 100 years of Disney, this is the perfect way to create discovery and fun for our guests,” said Ken Bunt, President of Disney Music Group, in a statement. In June, Disney launched its business development program, 2022 Disney Accelerator, to develop new entertainment experiences with select tech companies, particularly in the web3 industry. Obsess is just one company Disney selected to participate in the program. Other web3 platforms participating in the Accelerator include Flickplay, Polygon and Lockerverse. Disney has reportedly been exploring another shopping experience that involves a QR code for users to scan in the Disney+ app and buy merchandise. Also today, media company Warner Bros launched its own web3 experience to sell NFTs to “Lord of the Rings” fans.

Warner Bros. teams up with web3 startup Eluvio to launch ‘Lord of the Rings’ NFTs • ZebethMedia

Warner Bros. Discovery has partnered with blockchain company Eluvio to launch tomorrow “The Lord of the Rings: The Fellowship of the Ring” (Extended Version) web3 movie experience, with limited-edition multimedia non-fungible token (NFT) versions of the movie. “The Fellowship of the Ring” NFTs feature a 4K UHD, 3-hour-and-48-minute extended version of the 2001 film, over eight hours of bonus footage and commentary, image galleries and hidden AR collectibles. There are two editions that fans can choose from. Warner Bros. and Eluvio are minting 10,000 copies of the Mystery Edition, priced at $30 each, which comes with one of three location-based navigation menus modeled after a location in the film. There will be 999 copies of the Epic Edition, which are $100 each, and include all three location menus — The Shire, Rivendell and Mines of Moria. The Epic Edition will also come with exclusive bonus image galleries. Image Credits: Warner Bros./Eluvio Eluvio is rolling out the NFTs via its Ethereum-compatible blockchain. On Friday, October 21 at 9 a.m. PDT/ 12 p.m. EDT, “Lord of the Rings” fans can head to web3.wb.com/warnermedia/movieverse and create an Eluvio media wallet. The “Fellowship of the Ring” NFTs will be available to purchase with credit cards, debit or cryptocurrency. Once purchased, you can launch the web3 movie experience and stream the extended movie from the media wallet. This is the first set of NFTs available in the company’s new “WB Movieverse,” which Warner Bros. and Eluvio call a “multimedia living movie experience.” According to the website, two more NFT experiences are “coming soon.” “Warner Bros. Home Entertainment is setting a new bar for innovation in the distribution of home movies by demonstrating the potential of web3 for consumer engagement, digital supply chain transformation, and new business opportunities,” said Michelle Munson, CEO and co-founder of Eluvio, in a statement. Updated 10/20/22 at 2:03 p.m. ET with a statement from Eluvio.

Watch Draymond Green discuss investing, media and mental health • ZebethMedia

The final day of Disrupt kicked off in style with a conversation featuring four-time NBA All Star, Draymond Green. It was a spirited chat, covering the power forward’s push into media, including his podcast, The Draymond Green Show and deals with channels like TNT. Green also spoke at length about investing, managing mental health as a professional athlete and discussed how he and the team are working through the recent highly publicized altercation with fellow Golden State Warrior, Jordan Poole.

The Warriors’ Draymond Green talks podcasts, social media and the elephant in the room • ZebethMedia

The Warriors’ Draymond Green took the stage at ZebethMedia Disrupt today where he discussed his podcast, social media… and yes, the Jordan Poole punch. Green has spent the last several years building up his resume off the court, most notably through his popular podcast, “The Draymond Green Show.” Green touched on how his podcast has disrupted the media industry and how he continuously receives a lot of pushback on it. Like Green himself, the podcast has courted some controversy, but it also gives listeners a rare look into an active NBA player and the various athletes he invites on. “Me doing a podcast is very disruptive to the sports media industry,” Green said. “You’re listening to me speak about this game in a totally different context than you will hear anyone in the media speak about. Why? Because I actually just played that game. So my perspective is totally different. And in doing a podcast, the media is not able to create the narrative that they want to create. There was a lot of pushback. For those pundits that had a problem with me doing the podcast, I wonder what they’ll say this year because I actually won an NBA final doing it, so it couldn’t have been much of a distraction.” Green said he’s currently working toward building something incredible in the media space outside of basketball. He noted that although numerous notable individuals have founded and worked on several projects at once, such as Elon Musk and Jack Dorsey, people still questioned his ability to record a podcast after a game. Green, of course, also had to address the punching video that took the internet by storm earlier this month. The video depicts Green punching teammate Jordan Poole during practice. He revealed that he rewatched the video numerous times throughout the day when it was leaked. Draymond Green onstage at ZebethMedia Disrupt in San Francisco on October 20, 2022. Image Credits: Haje Kamps / ZebethMedia “I watched that video 15 or 16 times throughout the day,” Green said. “I kept putting myself through it because when I watched it, I couldn’t quite understand it. The video is six seconds. Just me walking up. No sound or anything, nothing leading up to it or anything. And so I’m watching the video, and I’m like: ‘man, this is bad.’” Green said he recognizes that he has to address the elephant in the room and own up to his mistake. He revealed that he had recorded a podcast episode regarding the punch, but didn’t release it because he was still reeling from the situation and didn’t want it to seem like he was only addressing the situation for personal gain. Green has since addressed the situation during his self-produced documentary called “The Countdown.” In the opening of part one, Green said: “I don’t think I cared about anything anyone said until the video was leaked.” When asked about this opening, Green said “narratives run the world” and that when you take a private situation public, it changes everything. In addition, Green touched on his struggles with social media and how he feels about constantly being subjected to everyone’s opinions online. “We live in a day and age of social media and it’s great,” Green said. “But it’s not always censored. So you’re subjected to everyone’s opinion, and I don’t know if that’s always the best thing. You’re kind of in a position on Twitter or Instagram where everyone feels like they can say whatever it is that they want to say.”

The Warriors’ Draymond Green will talk new media tomorrow at Disrupt • ZebethMedia

Fresh off his fourth NBA ring and a blockbuster opening night, Golden State Warriors power forward and 4x NBA champion, Draymond Green, will help us kick off the final day of Disrupt in style. Join us tomorrow at 9AM PT at the Disrupt stage in-person, or catch it live on ZebethMedia’s homepage. Green has spent the last several years building up his resume off the court, including television production deals and, most famously, his podcast, “The Draymond Green Show.” Like Green himself, the show has courted some controversy, but it’s also offered a rare level of insight into an active NBA player and the various athletes and other legendary sports figures he invites on. We’ll discuss shows like “The Countdown,” which premiered ahead of Tuesday’s season opener, providing a behind-the-scenes look at the lead up to the 2022-23 NBA season. The first episode arrived in the wake of a highly publicized practice altercation with teammate Jordan Poole, and touches on the incident and subsequent fallout. At tomorrow’s panel, we’ll discuss Green’s work in the announcer chair for TNT, tech investing and what life might look life after the NBA. See you bright and early tomorrow morning!

Kevin Hart’s Hartbeat Ventures takes its first outside investment from J.P. Morgan • ZebethMedia

Hartbeat Ventures is taking in its first institutional investment from J.P. Morgan, comedian and entrepreneur Kevin Hart announced today at ZebethMedia Disrupt. He made the announcement alongside J.P. Morgan’s head of digital investment banking and digital private markets Michael Elanjian and Hartbeat Ventures’ president and co-founder Robert Roman. Hartbeat Ventures, an early-stage VC firm with a focus on lifestyle, media and technology, is focused on inclusion — financial inclusion, specifically. A portion of the new fund will be allocated toward supporting minority and underrepresented founders. Hart said he had a bit of trouble entering the world of investing and noted that there is a learning curve. “I had to learn why investing was okay,” Hart said. “From my understanding, the world of investing — well, it was attached to the space of a con. You’re trying to con me out of my money. I don’t trust you. I’m not giving nobody my money so they can run off and do what they want — that was my challenge. The biggest learning curve for me was understanding that the investment has a timeline attached to it and because I invested today, does that mean I get anything tomorrow?” Robert Roman at Hartbeat Ventures and Kevin Hart talk with Natasha Mascarenhas, Sr Reporter at ZebethMedia, to discuss “The Art of Inclusivity” at ZebethMedia Disrupt in San Francisco on October 19, 2022. Image Credit: Haje Kamps / ZebethMedia Hart touched on how he learned that it’s important to be confident when investing and understanding the world of growth. He noted that his biggest challenge was understanding that investments have a timeline and that it’s important to learn how the economy works and how to make your money work for you. He also said that he trusts his team to do what is best for the firm and that he has aligned himself with people who have invested successfully. “This is not a Kevin Hart machine that Kevin Hart stands in front of and I said it has to happen and there’s no other way,” Hart said. “This is a table. This is a table where we sit and we talk, we ideate and we come up with the best possible ideas. That’s something that I’ve done very well over the years. I’ve aligned myself with people who have done it right and that’s how I’ve learned.” As for the investment from J.P. Morgan, Elanjian said that the investment marks the max allocation that the company has provided through Project Spark, which is the company’s initiative that invests proprietary capital into diverse and women-led ventures. “We created an initiative a couple years ago called Project Spark, which is how can we give diverse funds capital and first-time fund managers to change that equation,” Elanjian said on stage. “Over the last few years, we’ve put $90 million into 23 funds have gone on to raise over $900 million of capital. And so through this project and through meeting with Kevin’s team, we’re super excited that as of yesterday, we just closed and JP Morgan is now the first investor in Hartbeat ventures, new fund and we’re very excited for the things that we can do together.” Roman also announced that he has invested personal capital into Hartbeat Ventures but wouldn’t disclose how much. Hartbeat Ventures has already invested in a number of companies, including electrolyte beverage brand BrightFox, avatar platform Ready Player Me, sustainable bottled water brand Path, massage therapy device Therabody, sustainable packaging brand Cleancut, car leasing platform Rodo and social food ordering platform Snackpass.

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