Apple Watch! No, not the Watch itself -- but rather "watch" as in your local station's "Storm Watch" (anytime a drop of rain is expected) -- as in my preview of (and predictions for) Apple's upcoming World-Wide Developers Conference (WWDC) next week. All eyes in the business world will obsessively fixate on San Francisco once again, as Tim Cook kicks off on June 8th what everyone hopes to be "the next big thing" in our increasingly tech-hungry lives.
So, will it be the kind of "big thing" that will excite the Apple flock? And, if so, what will "IT" be? (I discuss that question with USA TODAY's Jefferson Graham later today on his video show -- and then, once again, Thursday night LIVE at 5 pm Pacific/8 pm Eastern on his "Talking Tech" radio show via TuneIn Radio).
Four big buckets of announcements are expected -- (1) Apple Watch, (2) iTunes Music, (3) Apple TV, and (4) iOS9.
(1) APPLE WATCH -- No big surprises here. Tim Cook will update us all on the expected massive initial numbers for Apple's latest product expansion (and also impress us all with the increasing number of native apps that require no iPhone link). (I just got mine shipped this past week and am wearing it now for the first time as I write this -- that is mine in the picture above -- NOTE to Cupertino: I tried to change the time to 6:08 to make it more relevant to Tim Cook's June 8th keynote, but the settings weren't very intuitive).
(2) ITUNES MUSIC -- Apple bought Beats last year for $3 billion for a reason -- and, this reason finally comes to light next week when Apple announces its new "Spotify Killer" $10/month subscription service. No ad-free alternative here -- it's all-or-nothing with this new service (although a limited free trial period is expected). So, what is Apple's "special sauce" to make a dent in the Spotify machine? Actually, the Apple core has a good story to tell here.
First -- the Apple juggernaut is just that ... a juggernaut. It is a marketing machine -- with both online and offline (retail) channels. Spotify can't compete with that. If Apple wants to make a dent, it can by its sheer heft. It can simply throw gazillions of dollars at the problem/opportunity. There is nothing else like it. That's the beauty of being the most valuable company in the world. Short-term losses are no problem if they lead to long-term success. And, Apple's tantalizing prospect is to convert a significant portion of its 110 million iTunes users (who spend an average of $30/year) to a subscription model (yielding $120/year instead). Which leads me to my next point ...
... Second, unlike Spotify, Apple's iTunes subscription service can be a success even if it loses money because, ultimately, it functions as marketing for Apple hardware (iPhones, Apple Watches, etc.) (Here's my separate relevant discussion/analysis in the context of Apple v. Netflix of why this is the case). Spotify doesn't have that luxury. Spotify must make money from the service itself -- and, that hasn't happened yet (no matter how massive it is -- with 86% of the U.S. on demand streaming market, 15 million paying subs worldwide, and $1 billion annual revenues).
Third -- and more important than most people think -- unlike Spotify, Apple takes great strides to portray itself as being creator and artist-friendly -- and that matters. Spotify proudly trumpets its emotion-free tech-first heritage -- and has lost some allies along the way because of it (Taylor Swift, anyone?). But, emotional appeal matters -- because humans (especially artists!) are emotional. Apple's fearless leader Steve Jobs set the tone in this regard by smartly placing artists first in his initial iTunes/iPod marketing (which was natural, since he was very much an artist himself). And Apple's Tim Cook stayed true to this DNA when he bought Beats in significant part to bring Jimmy Iovine and Dr. Dre into the fold (and, consequently, all of those other artists who respect them). By doing that, Cook bought numerous allies that can help him shape a differentiated user/listener experience. Listen closely next week. That artist savvy will permeate discussion and functionality of the new service (with significant impacts to Pandora as well).
(3) APPLE TV -- everyone expects Apple TV to get a major face-lift next week (clues in this regard were obvious in the WWDC invitation itself), but how "major" will that face-lift be? Will "IT" simply be "a better little square box" -- or will it be the long-anticipated full-fledged all-in-one beautiful flat-screen iTV? As much as I would like to say the latter, I don't expect it ... yet (although that day will come). But, the Apple TV "hobby" we know and love (at least some) will have more power ... including new features like Siri integration and initial hints to home automation ... and, most significantly, may even come with its own new OTT streaming service (aka "Netflix Killer"). Apple has long faced major hurdles with studios and broadcasters to license a critical mass of content -- and those challenges continue -- so it's not certain that Cook will yet announce the on-demand streaming video service. But, I think he will. Cupertino lawyers are feverishly trying to ink those final deals right now -- and they can be persuasive (after all, Apple's war chest doesn't hurt).
But, once Apple does launch its inevitable OTT video service, can it make a dent in the Netflix machine?
I absolutely think it can -- and for many of the same reasons that apply in the music/Spotify discussion above. In fact, I previously wrote about Apple v. Netflix at length -- analyzing the threat Apple poses to the market leader. Definitely worthy of a read (as self-promotional as that sounds). And, don't forget, Apple's inevitable OTT video service will feature both VOD and live linear TV (including ESPN). Netflix certainly doesn't have that.
(4) iOS 9 -- Virtually everyone expects new iOS 9 to be announced next week -- which makes sense since it is a developers conference after all. Yes, this ain't the sexy stuff, but it is still "stuff" that matters to us all -- because the OS defines our individual user experiences.
Any major "gasp"-worthy new functionality in iOS 9? Not really (although there is some chatter about some early Augmented Reality (AR) functionality) -- which follows Apple's recent purchase of AR company Metaio. Performance will be optimized -- and some "nice to haves" that many others have already discussed. But, it's always nice to get new features.
Tampilkan postingan dengan label Beats Music. Tampilkan semua postingan
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Selasa, 02 Juni 2015
Rabu, 01 April 2015
5 Reasons Jay Z's Tidal Has A Shot (at the Title?)
Jay Z and his crashing waves of super-friends just launched Tidal -- the long-anticipated mobile-focused music streaming service. Hot or not? Will Tidal "matter"? Can it? Isn't the much-maligned world of music streaming services over-saturated and under-performing financially as it is (with twin giants Spotify and Pandora still nowhere near profitability under their stand-alone business model)?
Not so fast in this very special case. Here are ...
5 REASONS WHY TIDAL IS BOTH UNIQUE -- AND A FORCE TO BE RECOGNIZED -- FROM DAY 1:
(1) Jay Z -- period, full stop. HE is a force. The force is with him. And just look at his Jedi mind tricks ... his ability to assemble the star power (from all major music genres) on the stage with him at Monday's launch. Imagine the logistics of doing just that alone with all the touring, recording, globe-trotting ... even Madge was there! ... which takes me to reason 2,
(2) United Artists. Remember that iconic major movie company? Hollywood legends Charlie Chaplin, Mary Pickford and Douglas Fairbanks, among others, financed and birthed that movie company nearly 100 years ago for the same fundamental reason launching the Tidal wave (had to say it at least once) -- i.e., control. Star power drove United Artists' success back then. And, imagine the potential power of the stars here, one century later, to drive magnified success in this new golden age of social media and with their individual mega-massive social followings? Millions upon tens of millions upon hundreds of millions of frenzied followers banded together -- and for the same music "cause." The United Artist precedent and potential is here. And, the artists here are invested (literally!) in Tidal's success and will gladly feed Tidal with exclusive, differentiated content (music, videos, fan interaction, real-world non-virtual and tangible fan experiences) -- content not available anyplace else -- in a case of what Jack Black called "stick-it-to-the-man" in the movie School of Rock. They will also push "the man" (the labels) hard for more artist-friendly economics (and likely share those friendlier economics with all participating artists) ... which takes me to reason 3,
(3) Differentiated User Content & Experience. Think of the story here -- and think of the word "experience" as I lay it out (because consumers pay for "experiences"). First, you have a slick UI (I have played with the mobile version, which immediately reminded me of the look, ease and simplicity that I immediately saw when I first tried Vessel -- another new digital media iconoclast that is focused on video and hell-bent on disrupting YouTube much in the same way that Tidal is dead set on disrupting Spotify). Second, you have (or will have) a deep pool of differentiated exclusive content (as I write in Reason (2) above). And -- contrary to the thinking of some more tech-driven streaming services (Spotify calls itself a technology-first company) -- content (and artist relationships) matter, especially to super-fans. They may not necessarily pay more just to access the same music they can find elsewhere. BUT (and this is a critical "but"), they absolutely will pay to get closer to Jay Z and other artists that matter to them individually -- and for the chance to share in experiences not available anyplace else. THAT too is content my friends! It's just a broader definition of it. Third, you have the much ballyhooed high fidelity experience -- which is both real -- and a great marketing story for both users and artists (Neil Young anyone?). A critical mass of consumers will pay more for quality (Apple products, anyone?) ... which takes me to reason 4,
(4) Tidal Is Beats-ing Apple at Its Own Game. (I kinda' smirk as I write that caption ... forgive me, but one must enjoy simple pleasures!). As I wrote previously when Apple first bought Beats for $3 billion, two key reasons were Dr. Dre and Jimmy Iovine (and the deep artist cred and relationships they brought to Apple, which is still fundamentally a hardware/tech DNA-based company despite its media trappings). It is that artist visibility, cred, stamp of approval, and overall "cool" that immediately differentiated Apple's coming-soon Beats Music service from the other streaming behemoths. Well, lookie lookie here. Jay-Z paid $56 million for Tidal's "Aspire" platform -- and certainly millions more to spruce it up -- but its star power shines significantly more brightly right here right now. Cupertino is cringing. It's not quite the Dre Day that the good Dr. hoped for ... which brings me to reason 5,
(5) Other Mega-Mobile Players Will Stand Up, Take Notice & Partner with Tidal. Apple has Beats Music. Its business model is to deploy Beats Music as the Trojan Horse to drive incremental and primarily mobile hardware sales (iPhones and iPads) -- its leviathan revenue stream. Countless other mega-companies -- who live in Apple's mobile "space" (and compete directly with the Apple machine) -- need to play that same "music-as-Trojan-Horse" game to fuel their own decidedly non-media core business models. And, that means significant and global distribution partnerships await to propagate Tidal's wave (okay, I said it twice!). Sprint is only the first. Stay tuned for more -- including both wireless operators (like Sprint) and hardware/handset companies (like Samsung, ultimately in lieu of Milk Music?) -- who become smitten by Tidal's sexy story.
To be clear, I am not saying that Tidal will sweep over and drown the competition -- or even "win" and be profitable as a stand-alone business (although many other definitions of "winning" come into play for artists with Tidal, as I allude to above). Other massive players already exist -- Spotify, Pandora, and Apple's coming re-imagined Beats Music.
But, let's be clear. I am saying this (and I ain't April "foo foo foo foolin'" when I say it).
Tidal is real.
Tidal is changing the game.
Tidal is damn interesting ....
Not so fast in this very special case. Here are ...
5 REASONS WHY TIDAL IS BOTH UNIQUE -- AND A FORCE TO BE RECOGNIZED -- FROM DAY 1:
(1) Jay Z -- period, full stop. HE is a force. The force is with him. And just look at his Jedi mind tricks ... his ability to assemble the star power (from all major music genres) on the stage with him at Monday's launch. Imagine the logistics of doing just that alone with all the touring, recording, globe-trotting ... even Madge was there! ... which takes me to reason 2,
(2) United Artists. Remember that iconic major movie company? Hollywood legends Charlie Chaplin, Mary Pickford and Douglas Fairbanks, among others, financed and birthed that movie company nearly 100 years ago for the same fundamental reason launching the Tidal wave (had to say it at least once) -- i.e., control. Star power drove United Artists' success back then. And, imagine the potential power of the stars here, one century later, to drive magnified success in this new golden age of social media and with their individual mega-massive social followings? Millions upon tens of millions upon hundreds of millions of frenzied followers banded together -- and for the same music "cause." The United Artist precedent and potential is here. And, the artists here are invested (literally!) in Tidal's success and will gladly feed Tidal with exclusive, differentiated content (music, videos, fan interaction, real-world non-virtual and tangible fan experiences) -- content not available anyplace else -- in a case of what Jack Black called "stick-it-to-the-man" in the movie School of Rock. They will also push "the man" (the labels) hard for more artist-friendly economics (and likely share those friendlier economics with all participating artists) ... which takes me to reason 3,
(3) Differentiated User Content & Experience. Think of the story here -- and think of the word "experience" as I lay it out (because consumers pay for "experiences"). First, you have a slick UI (I have played with the mobile version, which immediately reminded me of the look, ease and simplicity that I immediately saw when I first tried Vessel -- another new digital media iconoclast that is focused on video and hell-bent on disrupting YouTube much in the same way that Tidal is dead set on disrupting Spotify). Second, you have (or will have) a deep pool of differentiated exclusive content (as I write in Reason (2) above). And -- contrary to the thinking of some more tech-driven streaming services (Spotify calls itself a technology-first company) -- content (and artist relationships) matter, especially to super-fans. They may not necessarily pay more just to access the same music they can find elsewhere. BUT (and this is a critical "but"), they absolutely will pay to get closer to Jay Z and other artists that matter to them individually -- and for the chance to share in experiences not available anyplace else. THAT too is content my friends! It's just a broader definition of it. Third, you have the much ballyhooed high fidelity experience -- which is both real -- and a great marketing story for both users and artists (Neil Young anyone?). A critical mass of consumers will pay more for quality (Apple products, anyone?) ... which takes me to reason 4,
(4) Tidal Is Beats-ing Apple at Its Own Game. (I kinda' smirk as I write that caption ... forgive me, but one must enjoy simple pleasures!). As I wrote previously when Apple first bought Beats for $3 billion, two key reasons were Dr. Dre and Jimmy Iovine (and the deep artist cred and relationships they brought to Apple, which is still fundamentally a hardware/tech DNA-based company despite its media trappings). It is that artist visibility, cred, stamp of approval, and overall "cool" that immediately differentiated Apple's coming-soon Beats Music service from the other streaming behemoths. Well, lookie lookie here. Jay-Z paid $56 million for Tidal's "Aspire" platform -- and certainly millions more to spruce it up -- but its star power shines significantly more brightly right here right now. Cupertino is cringing. It's not quite the Dre Day that the good Dr. hoped for ... which brings me to reason 5,
(5) Other Mega-Mobile Players Will Stand Up, Take Notice & Partner with Tidal. Apple has Beats Music. Its business model is to deploy Beats Music as the Trojan Horse to drive incremental and primarily mobile hardware sales (iPhones and iPads) -- its leviathan revenue stream. Countless other mega-companies -- who live in Apple's mobile "space" (and compete directly with the Apple machine) -- need to play that same "music-as-Trojan-Horse" game to fuel their own decidedly non-media core business models. And, that means significant and global distribution partnerships await to propagate Tidal's wave (okay, I said it twice!). Sprint is only the first. Stay tuned for more -- including both wireless operators (like Sprint) and hardware/handset companies (like Samsung, ultimately in lieu of Milk Music?) -- who become smitten by Tidal's sexy story.
To be clear, I am not saying that Tidal will sweep over and drown the competition -- or even "win" and be profitable as a stand-alone business (although many other definitions of "winning" come into play for artists with Tidal, as I allude to above). Other massive players already exist -- Spotify, Pandora, and Apple's coming re-imagined Beats Music.
But, let's be clear. I am saying this (and I ain't April "foo foo foo foolin'" when I say it).
Tidal is real.
Tidal is changing the game.
Tidal is damn interesting ....
Senin, 29 Desember 2014
My Latest Guest Article for Variety -- The 3 Digital Media Mega-Deals That Defined the Year
Here is an excerpt from my latest guest article for Variety titled, “The 3 Digital Media Mega-Deals That Defined the Year” -- click this link to read the full article in Variety.
2014 proved to be a transformational year for content-driven digital media and tech investment. What started as a year in which SoCal investors longed for credibility and redemption for their l ong-held faith in the age-old adage “content is king” (in an increasingly tech-driven world), ended as a year of affirmation via a parade of multi-billion dollar exits. Disney unlocked this door first on the video side of the house with its $500-$950 million purchase of leading multi-channel network (MCN) Maker Studios. But, then others rushed the stage. Facebook bought virtual-reality (V/R) company Oculus Rift – and its initial gaming applications -- for $2 billion; and Apple Beat(s) the drum of music for $3 billion. These three deals alone totaled nearly $6 billion and defined a millennial-driven year in digital media. Read the rest by clicking here.
2014 proved to be a transformational year for content-driven digital media and tech investment. What started as a year in which SoCal investors longed for credibility and redemption for their l
Senin, 19 Mei 2014
AT&T’s Bold Content-Driven Moves
AT&T is determined not to be “just a carrier” anymore -- and is making bold content-driven moves to underscore that point.
Obviously, its new $49 billion mega-deal with satellite provider -- and increasingly original-content driven company -- DirecTV is a deal that will have significant reverberations among many. Verizon anyone? Echostar? DirecTV has a massive footprint/platform, of course, of its own to distribute compelling and differentiated content (NFL Sunday Ticket anyone?). DirecTV also quietly has gotten into the HBO-like “original programming production” game -- featuring exclusive premium long-form video that can’t be found anywhere else.
That’s premium long-form video content. But, let’s also not forget AT&T’s surprising $500 million premium short-form video development-driven venture with The Chernin Group, a deal announced just one month ago. The deal includes integration of leading anime-focused MCN CrunchyRoll. MCN “bite-sized” premium v
And, earlier this year, Dr. Dre’s Beats Music launched with AT&T in a massive distribution deal -- again, all about content -- and now Dre looks to become a billionaire via his acquisition by Apple (which likely will be announced at some point this week).
Bold bold moves.
And bold bold moves beget bold bold moves by others.
Exciting times in the world of “content meets technology."
Obviously, its new $49 billion mega-deal with satellite provider -- and increasingly original-content driven company -- DirecTV is a deal that will have significant reverberations among many. Verizon anyone? Echostar? DirecTV has a massive footprint/platform, of course, of its own to distribute compelling and differentiated content (NFL Sunday Ticket anyone?). DirecTV also quietly has gotten into the HBO-like “original programming production” game -- featuring exclusive premium long-form video that can’t be found anywhere else.
That’s premium long-form video content. But, let’s also not forget AT&T’s surprising $500 million premium short-form video development-driven venture with The Chernin Group, a deal announced just one month ago. The deal includes integration of leading anime-focused MCN CrunchyRoll. MCN “bite-sized” premium v
And, earlier this year, Dr. Dre’s Beats Music launched with AT&T in a massive distribution deal -- again, all about content -- and now Dre looks to become a billionaire via his acquisition by Apple (which likely will be announced at some point this week).
Bold bold moves.
And bold bold moves beget bold bold moves by others.
Exciting times in the world of “content meets technology."
Rabu, 12 Maret 2014
Things Heating WAY Up for Content-Based Digital Media Companies
Wow! What a week for content-based digital media companies -- and I’m not just talking SXSW.
Let’s take a quick look -- on the heavily-watched MCN/online video side of things:
(1) Warner Bros. makes an $18 Million investment and takes a major stake in gamer/young male-focused MCN Machinima;
(2) Disney counters by looking to buy rival MCN Maker Studios for $500+.
Disney hasn’t yet closed the deal with Maker apparently. But, you know what’s coming next. Full Screen. Big Frame. Anticipate acquisitions later this year by competing studios. Micro-video networks most certainly are “in” -- expanding the palette of the majors to include broader content offerings (and, importantly, also harvesting new talent to be featured “upstream” in bigger and more traditional content offerings).
How about on the online music side of the house?
(1) Spotify acquires Echo Nest and, subsequently, takes a $200 Million line of credit -- likely to fund even more acquisitions -- and, in the words of Venturebeat, as another sign that it is preparing for an IPO;
(2) Beats Music counters by closing a round of financing of at least $60 Million -- likely for the same reasons. Meanwhile, the steady drumbeat of new startup online music services continues.
Content-focused digital media/tech-focused companies are white-hot right now. And, that action is taking place primarily in LA.
Exciting times.
And, I haven’t even discussed the madness this past week at SXSW Interactive!
Let’s take a quick look -- on the heavily-watched MCN/online video side of things:
(1) Warner Bros. makes an $18 Million investment and takes a major stake in gamer/young male-focused MCN Machinima;
(2) Disney counters by looking to buy rival MCN Maker Studios for $500+.
Disney hasn’t yet closed the deal with Maker apparently. But, you know what’s coming next. Full Screen. Big Frame. Anticipate acquisitions later this year by competing studios. Micro-video networks most certainly are “in” -- expanding the palette of the majors to include broader content offerings (and, importantly, also harvesting new talent to be featured “upstream” in bigger and more traditional content offerings).
How about on the online music side of the house?
(1) Spotify acquires Echo Nest and, subsequently, takes a $200 Million line of credit -- likely to fund even more acquisitions -- and, in the words of Venturebeat, as another sign that it is preparing for an IPO;
(2) Beats Music counters by closing a round of financing of at least $60 Million -- likely for the same reasons. Meanwhile, the steady drumbeat of new startup online music services continues.
Content-focused digital media/tech-focused companies are white-hot right now. And, that action is taking place primarily in LA.
Exciting times.
And, I haven’t even discussed the madness this past week at SXSW Interactive!
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