Tag Archive | "swedish"

Nordic VC Creandum Closes Its New €135M Fund Targeting 25-30 Seed To Series A Investments

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More VC money sloshing around Europe. Creandum, the Stockholm-based VC best known for its early investments in the likes of Spotify and Videoplaza, has closed its third fund at €135 million (~$177m), laying claim to being the biggest technology venture capital fund in the Nordics.

The new fund, which was a year in the making and has already made around six investments, will target 25-30 early stage companies in the Nordics and wider European region, with a mixture of seed (€100k – 1m) and A-rounds (€1m – 10m). The majority of those will be in consumer and other software companies, with the rest being hardware and high-tech investments.

Maybe Europe’s Series A crunch — if there is such a thing — just got a little softer.

Creandum says the new fund was raised with “strong support from existing and new investors from the Nordics, rest of Europe and the US”, and that the number of Limited Partners doubled versus the previous €80m Creandum fund raised in 2007.

Interestingly, Unquote reports that only one investor from Fund II “did not re-up into Creandum III”, and that the new fund comprises 11 investors, with “approximately 50% of the capital coming from Sweden and the rest from elsewhere in Europe”. One of those investors is the Finnish government investment vehicle Finnish Industry Investment, which put in €7.5m. More generally, they are made up of family offices, and institutional investors such as pension funds and insurance companies.

Already active for a year, Creandum’s early investments from the new fund include the computer vision startup 13th Lab, mobile wine app Vivino, the price comparison service for sea freight Xeneta, last minute hotel booking app JustBook and Singapore-basd gaming company Non Stop Games – with a 6th Swedish investment yet unannounced.

I’m told that this accounts for no more than 10% of the new fund, with up to 24 more investments to go. Meanwhile, the VC says that 5 out of its first 6 deals have been seed investments.

Article courtesy of TechCrunch

Voddler, Sweden’s ‘Spotify For Video,’ Takes Its Freemium Streaming And Sharing Service Global

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Voddler, the Swedish film and TV streaming service that has been described as the “Spotify for video,” is going global to take on Netflix, Amazon, Vdio, BitTorrent, and the many others in this space. Live in Scandinavia since 2010, and Spain since 2012 (where all together it has picked up 1.2 million users), this week Voddler is extending its footprint to the rest of Europe and Russia; and it is adding North America, South America, Asia and the rest of the world in the coming weeks.

CEO and founder Marcus Bäcklund, who was in London today to announce the news, says that initially Voddler will be rolling out its service as a standalone, OTT product. “We have partnered with carriers in the past for VOD, and I think it’s possible to do that in the future as well here, but what we are really trying to do here is offer an indpeendent and open platform for everyone,” he said in an interview with TechCrunch.

The core of Voddler’s platform are two services it calls LiveShelf and ViewShare, both based on a peer-to-peer, serverless architecture. LiveShelf gives users a selection of videos — current catalog numbers at 5,000, from “leading film studios, including Hollywood majors” — with they can either rent (typical price $5.22) or buy ($10), with some titles offered for free. All are viewable on all major mobile, tablet PC and TV screens.

ViewShare, meanwhile, is a service that then lets Voddler users share that content with others: those who take Voddler’s free service have a limit to how many other users can view (currently 10), while those who pay €5 ($6.50)/month extra for “Voddler Plus” get that privilege for an unlimited number of users. On top of these two services, Voddler also has some 18 patents filed for the Vnet streaming technology that is used to run the platform, and it makes a “small commission” each time a video is watched, a royalty fee from the content holder.

In its limited release to date, Voddler has seen a healthy take-up. Among its 1.2 million users, its video catalog has had 18 million streams since 2011, and it reports cumulative revenues of $3 million since launch on that activity. As Spotify has shown with its business model — and others like Rdio are also demonstrating with its Vdio video service — while media streaming services make very small (and sometimes no) margins, their power lies in scale. This is one reason why Voddler had to expand worldwide.

The other is that it simply can. Bäcklund says that its technology makes it very simple to expand geographically and efficiently, and it is now that it has managed to secure the content relationships to take the service to new markets. He calls the limited European release up to now the “proof of concept that we have now achieved.”

While 5,000 titles doesn’t sound like a significant number, he says that the number will go up as the year goes on. “We’re just finalizing agreements with our 50 content partners for this,” he says.

To date, Voddler has raised €24 million ($31 million) in VC funding from investors that include Cipio Partners and Nokia Growth Partners.

Article courtesy of TechCrunch

Facebook careers: public content analysis, mobile operator partnerships, creative strategy and more

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hiresFacebook is looking for a Public Content Partnerships Analyst, which could be related to a new push for more public content from users and popular figures.

The job description says, “The Public Content Partnerships team is looking for a business and data analyst with a passion for media, popular culture and social technology to help drive informed business decisions for Facebook.” Responsibilities include, “Apply your expertise in quantitative analysis, data mining, and the presentation of data to communicate how our partners engage with our product.” An ”understanding of public figure use of social media” is  a preferred requirement.

Facebook added a subscribe — now called “follow” — option in September 2011, and there have been reports that Facebook could introduce hashtags into its service as well. The company has recently added a number of job listings related to strategic partner development, such as roles focused on entertainment companies and public figures in Brazil and Asia, as well as musicians and athletes in the U.S. Facebook also seems to have hired a data editor to help visualize and share “the many exciting ways people are using Facebook and connecting with others during global events, holidays and other significant moments in time,” according to a job post added in March and removed last week.

Another new job this week is for Mobile Partnerships, Head of North American Operator Partnerships. This is likely to build more relationships like the one Facebook has with HTC and AT&T, which resulted in the launch of the HTC First with Facebook Home today.

Facebook added 29 other new positions to its careers page this week, including a number of openings on the creative solutions, UX research and other teams.

  • Cluster Operations Engineer (Menlo Park)
  • Manager, Corporate Communications (Toronto)
  • Product Specialist, User Operations (Palo Alto – Menlo Park)
  • Business Sourcer (Menlo Park)
  • Recruiting Program Manager – Mergers and Acquisitions (Menlo Park)
  • Sourcer, Diversity – NYC (New York)
  • Quantitative UX Researcher (Menlo Park)
  • UX Research Tools Engineer (Menlo Park)
  • UX Researcher (Menlo Park)
  • Environmental Health and Safety Engineer (Menlo Park)
  • Logistics Program Manager, Asset Management (Menlo Park)
  • Sustainability Data Analyst (Menlo Park)
  • Network Engineer, Operations (Dublin)
  • Manager, Production Engineering (Menlo Park)
  • Brand Strategist, Creative Solutions (New York)
  • Brand Strategist, Creative Solutions (Chicago)
  • Brand Strategist, Creative Solutions (Menlo Park)
  • Creative Strategist, Creative Solutions (LA) (Los Angeles)
  • Creative Strategist, Creative Solutions (Toronto)
  • Creative Strategist ( Paris) (Paris)
  • Creative Strategist – Global Creative Solutions (Sydney)
  • Creative Strategist (Singapore)
  • Mobile Partnerships, Head of North American Operator Partnerships (Menlo Park)
  • Media Solutions, Swedish (Dublin)
  • Account Specialist (Singapore), Strategic Client Services (Singapore)
  • Associate Account Manager (Contract) (Singapore) (Singapore)
  • Client Partner Mexico (Mexico City)
  • Team Assistant (half time – contract) (Warsaw)
  • Client Partner, Travel (Menlo Park)
  • Lead, Global Marketing Solutions – CPG (Menlo Park)
  • Public Content Partnerships Analyst (Menlo Park)

Who else is hiring? The Inside Network Job Board presents a survey of current openings at leading companies in the industry.

Article courtesy of Inside Facebook

Curious Pictures, Producers Of Popular Disney, Nick & PBS Children’s Television, Invests In Kids’ App Maker PlaySquare, A Startup Building…

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PlaySquare, a startup founded by a team of Emmy-winning children’s television producers interested in bringing “touchable TV” to the iPad, has found a new home and partner in its efforts thanks to an investment from Curious Pictures. The NYC-based production company, known for popular children’s programming like Disney’s “Little Einsteins,” Nick Jr.’s “Team Umizoomi,” HBO’s “A Little Curious,” as well as more adult-oriented films and games (including RockBand), has invested $660,000 into PlaySquare, and will fund up to an additional $1.5 million over the course of the next two years.

As a result of the funding, PlaySquare will relocate to Curious’s New York offices, where their now seven-person team will be able to take advantage of the pool of knowledge, talent and infrastructure in the larger organization. At any given point, depending on what property it’s working on at the time, Curious Pictures may have up to 150 people it calls on to help design, develop and produce its programs.

Startups in the kids’ apps space are often finding homes within larger companies these days, or licensing content with bigger-name kids brands to drawn in their audience. For example, well-known kids’ app maker Toca Boca actually operates as a startup within the 200-year-old Swedish publishing company Bonnier, and is now growing through acquisitions. Meanwhile, another kids app firm, Callaway Digital, teamed up with Hasbro late last year, and FingerPrint, founded by a former LeapFrog exec, partnered with UK’s MindShapes and also licensed content from third-party brands like VeggieTales.

Like many, PlaySquare is also betting on the power of a built-in audience to help it gain traction. In this startup’s case, it has the rights to use the assets from the three-time Emmy-award-winning PBS TV show WordWorld, which it has been transforming into interactive, “touchable” television, engaging children not just with stories to watch passively, but also with “in-TV” activities that progress the story. This is more than an interactive storybook and it’s different from a child’s game with an accompanying narrative. It’s truly interactive television – something children’s TV producers have long sought after, but which hasn’t really been possible until the iPad.

CEO Alex Kay, who founded WordWorld back in the day, explains that longer-term the company would love to get into more original content like competitor Kidaptive is doing. But he thinks that going after those who already know about WordWorld is a better way to start.

“The business model is really tough in this app world,” he says. “It’s difficult to rise above the fray.”

And yet, even with the brand-name recognition of an award-winning PBS show, it’s still hard to compete with hundreds of thousands of apps in the iTunes App Store. Today, PlaySquare has close to 100,000 downloads – which in the grand scheme of things is small. Though it’s notable that PlaySquare has earned those eyeballs despite not having done any promotion for the app, it still has a way to go.

That being said, children are highly engaged with PlaySquare content, and have spent over 13 million minutes in the app since its launch last summer, averaging more than five minutes per session, and returning to play over and over again.

And with the new resources at its disposal via Curious’s investment, PlaySquare has the chance to grow. It plans to release two more episodes of WordWorld this fall ($2.99 each via in-app purchase) and has signed up a second, still undisclosed property that will go into production this fall.

Though Curious has relationships with folks like Disney and Nickelodeon, for example, Kay explains that PlaySquare won’t be beholden to only working with those who have contracted with Curious – it’s going after its own deals, as is the case with the new, unnamed addition. Longer-term, he feels that PlaySquare can become a great partner for bigger TV brands that push out hundreds of episodes of traditional programming.

“Most of these – Nick, Disney and PBS – are focused on getting television content out, rather than licensing these other revenue streams and creating a whole second production studio for these apps,” says Kay. “We’d like to be the studio that helps them get this stuff to market,” he adds. “If they’re producing a hundred episodes, we can take ten episodes and turn that into touchable television.”

PlaySquare, a personal favorite in our home I might add, is a free download here in the App Store.

Article courtesy of TechCrunch

TransferWise To Pay It Forward With $100M In Free Money Transfers For European Startups

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TransferWise, the online currency exchange, has been pitching itself as the preferred method of money transfer for European startups for a while now. And today, born of its co-founder Taavet Hinrikus‘s own experience, the company is putting its money where its mouth is by launching a campaign to wave the fees for a total of $100 million worth of international money transfers for qualifying European startups using the TransferWise platform.

Also lending support to the idea — in name only, we should add, however it’s being spun — is 25 other well-known figures and companies in the startup community, including Niklas Zennström (CEO of Atomico and co-founder of Skype), Peter Thiel (co-founder of PayPal), Richard Moross (founder of MOO), Sherry Coutu (serial entrepreneur), Jon Bradford (Techstars), and Eileen Burbidge (partner at Passion Capital).

The offer is being made for 1,000 European startups on a “first-come, first-served basis,” says TransferWise, and will come in the form of a voucher that can be used on the platform for free transfers up to $100,000. To qualify, startups must have launched less than two years ago.

Registration closes on 10th of May 2013, with vouchers expiring on 10th April 2014.

Noteworthy is that the full $100,000 voucher doesn’t need to be used in one go — making the offer not just useful for a large transfer, such as the receipt of capital from a foreign investor where bank exchange rates and charges are known to hammer startups (I talk from direct experience), but could also be apportioned to wave the cost of money transfers related to things like paying contractors or partners abroad, or attending an international event.

“The campaign was really born from personal experiences,” Hinrikus, who before co-founding TransferWise was Skype’s director of strategy, tells TechCrunch. “Initially when getting Skype going, this was way before it was successful, we already had a multi-country operation that was costly. And at that point every pound/kronor/euro was scarce. That’s where it first starting itching.”

“We built the technology to make a difference and we remember how hard it was to start out,” he adds. “Now we are in the very privileged position to do something about it, so this is our way of trying to do that. To ignore where you came from is one of the worst things in the world, and there is not a single member of the TransferWise team who doesn’t remember the acute difficulties in starting out. We’re a better company for that.”

Of course, by paying it forward, TransferWise should stand to benefit by raising awareness of its wares amongst the wider startup community and winning new customers longer term.

To that end, TransferWise bills itself as the “Skype of money transfer“ and enables individuals and businesses to send money between countries for a fraction of the price that banks and others charge, using a peer-to-peer, “crowdsourced” model — where money destined for transfer doesn’t unnecessarily actually leave each country — to get the best rate on the exchange. It passes on these savings by charging a small flat fee per transfer.

Currency transfers are supported between the euro, British Pound, Polish Zloty, Danish, Swedish and Norwegian Krone. In addition, last November it added support for transfers to U.S. Dollars, while transfers from U.S. Dollars to its list of supported European currencies are said to be “coming soon”.

The other figures and companies “supporting” the campaign are: TCIO; Saul Klein, partner at Index Ventures; investor Michael Jackson; Seedcamp; Mendeley; 3Beards; Jason Goodman, founder of Albion; Robin Klein, founder of The Accelerator Group; Christian Thaler-Wolski, Wellington Partners; Nikhil Shah, co-founder of Mixcloud; Roger Ehrenberg, partner at IA Ventures; Funding Circle; Stripe; Skimlinks; Pioneers Festival; Garage48; Kima Ventures; GrabCAD; Wayra; and Erply.

Article courtesy of TechCrunch

Huawei Says Security Concerns Will Hinder U.S. Growth, But It Still Expects Traction In Europe And Asia

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Huawei, the world’s second largest telecom gear marker after Ericsson, said that its U.S. growth will be hindered this year by U.S. security concerns. But Bob Cai, the Chinese company’s vice president in charge of wireless-network marketing, told the Wall Street Journal that Huawei still expects its key wireless-network business to gain ground in Europe and Asia.

Huawei has been dealt two major setbacks in the U.S. over the past half-year. In October, a U.S. congressional report said that Huawei and ZTE’s “provision of equipment to U.S. critical infrastructure could undermine core U.S. national-security interests,” a claim that both companies disputed. Then last week, Sprint Nextel and SoftBank pledged not to use gear from Huawei after they merge.

Huawei is counting on other overseas markets, as well as its domestic market in China, for revenue growth. In 2011, Huawei’s wireless network business accounted for 45.91 billion yuan (about $7.4 billion USD), or 23 percent of the company’s total revenue of 203.93 billion yuan. Seventy percent of its group revenue is generated abroad and the company says that its biggest markets are in Western Europe and emerging Asian markets like Indonesia. In Europe, Cai told the Wall Street Journal that Huawei has “already built trust” with carriers.

Like smaller rival ZTE, Huawei is also pegging its domestic growth on China’s nascent LTE network. The country’s big three mobile carriers–China Mobile, China Telecom, and China Unicom–are all busy building out their LTE infrastructure. Together, the three companies will spend 345 billion yuan ($56 billion USD) on expanding their 4G networks this year. Cai told the Wall Street Journal that last year Huawei made $1 billion in revenue from its LTE network business, and that the company expects that figure to double to about $2 billion this year.

Overall, Huawei expects its mobile infrastructure unit to grow by at least 10 percent this year, after 11 percent growth in 2012. Despite the added challenge of U.S. security concerns, Huawei’s competitors like Ericsson have also had tough time over the past few years thanks to the poor economic climate. For instance, Ericsson’s 2012 group revenue was 227.78 billion Swedish kronor ($35.1 billion USD), almost flat when compared with its 2011 revenue of 226.92 billion kronor.

Article courtesy of TechCrunch

Zeel Relaunches As The Uber For Massage With New On-Demand, Mobile Booking Service

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Zeel launched in early 2012 to bring the Zocdoc model to alternative healthcare providers. In other words, just as Zocdoc makes it easy to search for doctors based on specialty, proximity and insurance coverage and book appointments directly, Zeel aimed to do the same for the other half of the market: From massage therapists and personal trainers to nutritionists and acupuncturists.

Since then, Zeel has gone on to onboard thousands of wellness providers and book thousands of appointments for a wide range of practitioners. However, during its first year, one vertical in particular emerged as the most active and the most significant source of traffic: Massage. The team discovered, co-founder Samer Hamadeh tells us, that about half of its appointment requests were for massage, many in-home and that over 55 percent of those requests were for same-day service.

Because the industry isn’t set up to capitalize on same-day requests, the co-founder says, the startup decided to abandon the horizontal approach and refocus its efforts on massage, specifically of the on-demand and in-home variety. Zeel soft-launched its on-demand massage service in December, but eager to become a mobile-first product in the same way Uber provides on-demand car services, Zeel began developing iPhone and Android apps.

Today, Zeel is officially announcing its new, massage-focused product and releasing its iOS app (with Android to follow next month), allowing anyone and everyone to book same-day, in-home massage appointments while on-the-go. Through its app, Zeel now enables users to select a 60 or 90-minute massage, specify whether they prefer a male or female massage therapist, decide between Swedish and deep tissue massage, while indicating their location — and, in turn, therapists can show their open appointment times.

Hamadeh says that the over-arching motive behind its new product is to, simply put, make massage affordable and accessible to everyone. Furthermore, it aims to solve the hassle around booking a massage — having to call around and book ahead, for example. The startup has recruited over 100 licensed and vetted massage therapists who are available on-demand and will confirm appointments and be on their way within minutes of booking your appointment.

Zeel is also attempting to take some of the hassle out of the process by offer a set price (including tax and tip), which is charged directly to users’ credit cards. And, because in-home massage inherently has the potential for all kinds of creepiness, the co-founder assures us that all of its therapists are vetted, licensed, certified, insured and own their own portable massage tables.

As to why Zeel decided to limit its potential market by focusing on massage, rather than the alternative? Hamadeh hopes that by focusing on one vertical and doing it really well Zeel will be able to build a more meaningful (and useful) service than trying to be everything to everyone. In turn, he tells us that there are currently over 290,000 licensed massage therapists in the U.S., 73 percent of which are solo practitioners. Furthermore, 41 million Americans receive at least one massage each year, while the average customer books six appointments per year.

By standardizing the price and removing the friction around booking and payments, Zeel hopes to be able to increase the frequency with which we indulge ourselves in a little massage. Particularly because, in truth, 44 percent of massage appointments are booked for medical and health reasons, many of which are ongoing. Hamadeh says, in its experience thus far, Zeel has found that 55 percent of in-home requests are same-day, but only 25 to 35 percent of those are actually booked. As a result, that market opportunity could be double or triple the amount of current massages.

The other issue is that, when most people decide to book a massage, they want to be lying on the table within 12 hours of booking. The reality is, the co-founder says, that appointments booked more than a day in advance tend to get changed. And, on the therapist’s side, 30 to 40 percent of their day is free, and the average therapist has to work two or three jobs and don’t have health insurance — so even if an appointment means traveling far (and is inconvenient) most therapists will take it anyway.

By using the Uber model, Zeel is able to help therapists book more appointments and organize their day in a way that doesn’t require them to travel 50 miles to an appointment, while removing the hassle of phone calls, and back and forths over SMS with customers.

Of course, Zeel is hardly the only place or service to offer massage. There are a slew of options for people looking for a massage therapy solution, whether it be spas, health clubs, gyms and so on. There are in-home options, too, as people can turn to sites like Thumbtack and Craigslist to look for therapists. The problem is that most spas don’t offer on-demand, in-home massage and the marketplaces that do offer in-home service tend to be pretty sketchy.

On the customer side, it’s hard to verify that the person about to come to your apartment isn’t a serial killer, and the same safety issue applies for therapists, too. In response, when customers sign up for Zeel, the startup asks users to send a copy of their driver’s license and uses a “major identity verification agency” to confirm their birthday, location, legal home address and so on.

If things don’t check out, no massage for you. Only verified customers can book appointments, the co-founder tells us, in attempt to provide extra security measures for therapists. And, on the customer side, Zeel vets and curates its roster of therapists itself with the goal of decreasing the creepiness factor on both sides of the equation.

Zeel is initially only available in the New York City area, where the price of a massage in Manhattan will cost $130 (and $120 in the outer boroughs). While this seems high, Hamadeh says that it prices Zeel’s service favorably compared to Equinox, Bliss, Four Seasons, Exhale and other in-home solutions in NYC. In fact, the team debated launching in New York first because of the pricing factor (everything is more expensive in the Big Apple). But, the co-founder said that the price of a Zeel massage in Manhattan will likely be the most expensive in the country.

To that point, the startup plans to launch in a new city each quarter and will be coming to California in the fall. For readers in NYC looking to test out the new service, using the code “TECHCRUNCH” will get you a $25 discount on your first appointment.

Zeel.com has raised $1.5 million in outside capital to date from a number of investors, including Prolog Ventures, a life sciences and healthcare venture firm, former Midway Games chairman and LogMeIn board member Ken Cron, long-time healthcare investor Esther Dyson, Lightspeed Venture Partners’ Ravi Mhatre and former Facebook director of monetization and current CRO at Pinterest, Tim Kendall, among others.

Zeel at home here, on mobile here.

Article courtesy of TechCrunch

Introducing MOX, A 24/7 Dance Music Web TV Channel

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“Electronic dance music is what rock ‘n’ roll was decades ago. It’s a ‘fuck you’ to your parents.” “A lean-back, TV-like experience on the Internet is the future of television.”

MOX.tv is a web tv channel built on these two ideas that’s coming out of stealth today. It broadcasts dance music videos, concerts, and news hosted by VJs 24 hours a day. Just open MOX.tv and start grooving — no clicks necessary

Throw Away Your Mouse

It’s that simplicity that could make MOX a hit. Right now, the Internet is exhausting. You constantly have to decide where to click next. That causes what’s known as “decision fatigue.” You get tired of weighing the options and just tune out. Founder Carter Laren, who gave me those quotes above, explains “The Internet today is really good at giving you exactly what you want…but often you don’t know exactly what you want to listen to or watch.

MOX’s human curators make those choices so you don’t have to. Instead you can just let it play. Browse the rest of the web, and MOX becomes a passive electronic dance music (EDM) radio experience. Hear something you like and you can watch the video then resume surfing when it ends and the next video starts. To try it for yourself, visit MOX.tv or watch this quick sample of what it looks like:

That doesn’t mean MOX wants to sacrifice the interactivity which is the Internet’s strength over television and the FM dial. Scroll below the video channel and you’ll see related content about whatever artist or festival is currently on the air. And if you really want to tune the experience you use buttons on the left to watch just a stream of news presented by human video jockeys, Bass (aka dubstep), Chill (downtempo EDM), or Dance (uptempo non-dubstep EDM). That way if you really hate the dubstep or peppy trance anthems, you can avoid them.

The Long Road To Less

Laren started working on MOX about 18 months ago after working for Cryptography Research, scoring some exits in Blu-ray technology, and investing in a few projects, including San Francisco dance club Monarch. Now he’s funding MOX until it closes a seed round next month. In the meantime MOX acquired  http://cull.tv, and its founder is now MOX’s CTO.

At first the startup planned to help bring the live music experience into the living room before pivoting into EDM web TV a year ago. The team started testing with 16-24-year-old focus groups and found they loved the 24/7 video stream but were confused by too many configuration options. So MOX ditched the DVR-style timeline that originally let people skip around in the stream.

The kids also loved MOX’s focus on dance music. Which differentiates it from music video site Vevo’s new “MTV for the web” service. Turn on Vevo.tv and you’ll see tired pop music like Nicki Minaj and Taylor Swift. That leaves plenty of room for MOX to become the home for a younger generation obsessed with EDM. Its focus on video, another favorite of the youth, could give it an edge on text-heavy sites like Turntable.FM co-founder Seth Goldstein’s new DJZ that is also vying for raver eyeballs.

Laren confesses MOX is very much in beta and its nine-employee team still has a lot to do. “The news is still really ghetto right now” he admits, referring to the haphazard DJ interviews and concert features played at the top of the hour. Mox is also planning to build an embed tool so you can host its video stream, as well as a search box so you can play certain music videos on demand.

Luckily it doesn’t have to go crazy with monetization too early. Since music videos are essentially marketing, record labels typically give them to MOX royalty-free, so it doesn’t have to pay out huge sums like Pandora or Spotify.

MOX does have some advertising already, like the Absolut commercial that doubles as a Swedish House Mafia music video. Laren hopes to keep ads on the main channel highly curated and in a similar content-as-marketing vein. It might look into more aggressive advertising, but only in the lean-forward parts of the site like search where people are more tolerant because they’re asking for something. Premium concert streams are another opportunity.

A Generation, Synchronized

Honestly, I’m really enjoying MOX. It’s a great combination of a passive and active experience that fits into my web browsing habits. I turn it on, watch a little, then go on with my day as it plays in the background with the consistent beats keeping me in a state of flow. If I hear something that grabs my attention or the news comes on, I pull up the window and watch again. That gives MOX an edge on radio, on-demand streaming, blogs, Turntable, and most other music experiences.

Knowing there’s a human choosing what plays, and that other people are watching/listening to the same thing at the same time gives me this subtle feeling of community. And that’s really what EDM is about — a pulse that synchronizes everyone in earshot, that breaks the ice and makes people feel part of something bigger. If MOX can just get us to turn it on, we’ll let it stream through our stereos all day long.

Article courtesy of TechCrunch

Dropbox Hits Another Hiring Homerun With Rasmus Andersson, Facebook’s Mobile Design Guru

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Rasmus Andersson

Dropbox has scored another big win on the staffing front.

Rasmus Andersson, the Swedish designer and technologist who for the past two years has worked at Facebook leading the design of mobile products and working on product infrastructure, is leaving the social networking giant to join Dropbox. He’ll be working on both the design and engineering teams at the cloud storage and sharing company. We’re hearing that his last day at Facebook was this week, and Dropbox is set to announce his hiring later today.

Prior to working at Facebook, Andersson spent four years as the chief designer at Spotify. There he essentially steered all aspects of Spotify’s creative direction at a formative time for the music streaming service, developing its logo and branding and designing the interface of its flagship Mac app.

This is just latest in a series of recent coups Dropbox has made on the tech staffing side. Last week, the company beat out several established bidders to acquire Orchestra, the 13-person startup behind the much buzzed-about email organization app Mailbox. In December, the famed creator of the Python programming language Guido Van Rossum joined Dropbox as a software engineer after a seven year career at Google; also that month Dropbox snapped up Soleio Cuervo, the designer responsible for Facebook’s “Like” button, and acqui-hired photo-sharing startup Snapjoy and cloud music startup Audiogalaxy, bringing on solid new engineering talent. Meanwhile on the sales and marketing sides, Dropbox in December added a slate of big-name execs from Apple, Salesforce, and Google.

With a total employee count of 250 and more than $250 million in venture capital, the six-year-old Dropbox is firmly out of the “startup” realm. But the company seems to have found a sweet spot that attracts people looking to bring their fledgling startup skills to the next level, as well as folks from bigger more established tech corporations craving more adventure and possibility. It’ll be interesting to see what comes out of that mix of talent in the coming months.

Article courtesy of TechCrunch

Twitter Archives Now Available In 12 More Languages, Including Japanese, Portuguese, Russian And Simplified Chinese

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On the occasion of its seventh birthday today, Twitter has announced that personal archives of tweets are now available for 12 more languages:

Twitter archive adds Danish, Filipino, Indonesian, Italian, Japanese, Portuguese, Russian, Simplified Chinese, Swedish, Thai, Turkish, Urdu


Twitter (@twitter) March 21, 2013

In December, when Twitter rolled out the option to download a massive archive of your history, this is what they had to say about the feature:

Today, we’re introducing the ability to download your Twitter archive, so you’ll get all your Tweets (including Retweets) going back to the beginning. Once you have your Twitter archive, you can view your Tweets by month, or search your archive to find Tweets with certain words, phrases, hashtags or @usernames. You can even engage with your old Tweets just as you would with current ones.

Sadly, tweets in the above languages weren’t available, but they are now. Simply go to your settings page, and then click “request your archive.” You’ll then be emailed once the archival process is complete.

Once you download the file, you’ll be able to open it on your desktop and review everything you’ve ever said or retweeted. It’s fun until you read things that you wrote while you were drunk:

Happy downloading.

[Photo credit: Flickr]

Article courtesy of TechCrunch

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