Podcasts about Tencent Music

Entérate de lo que está cambiando el podcasting y el marketing digital:-Spotify se enfrenta a YouTube apostando fuertemente por el video.-Tencent Music negocia la compra de la plataforma de pódcast Ximalaya.-Deloitte: el audio y la IA son claves para el futuro de los medios.-Dropbox actualiza Dash: ahora busca en texto, audio, video e imágenes.-RSS.com compartió una guía práctica que enseña a crear un pódcast desde cero. -Conoce “Stereo” una app social para crear y disfrutar de pódcast en vivo.Patrocinios ¿Estás pensando en anunciar tu negocio, producto o pódcast en México? En RSS.com y RSS.media tenemos la solución. Contamos con un amplio catálogo de pódcast para conectar tu mensaje con millones de oyentes en México y LATAM. Escríbenos a ventas@rss.com y haz crecer tu idea con nosotros.Entérate, en solo cinco minutos, sobre las noticias, herramientas, tips y recursos que te ayudarán a crear un pódcast genial y exitoso. Subscríbete a la “newsletter“ de Via Podcast.

Asia-Pacific markets kick off the week on a positive note, but where is momentum strongest? Hosted by Michelle Martin with Ryan Huang, today’s show dives into Hongkong Land’s $1 billion property sale, Keppel Infrastructure Trust and Mapletree Logistics Trust's latest calls from DBS, and Wall Street’s Big Tech surge led by Meta, Microsoft, Apple, and Amazon. We also spotlight corporate movers like BYD, Tencent Music, and Yangzijiang Financial.Plus — the STI’s weekly performance, coconut prices spiking, and why vampires are conquering the box office once again.See omnystudio.com/listener for privacy information.

Это новый выпуск лучшего подкаста про игры, технологии, интернет и медиа – Завтракаста. В этот раз двое друзей, Дима и Тимур, обсуждают кучу новостей, слухов, а также делятся впечатлениями и советами. Assassin's Creed Shadows, Future Games Show, Nintendo Direct, новые Покемоны, сериал Adolescence, фильмы Ibiza и Heretic, а также многое другое. Подписывайтесь и ставьте лайк, не забудьте нажать на колокольчик тут – https://youtube.com/zavtracast  Если вы хотите нас поддержать из России, подписывайтесь на нас на Boosty – https://boosty.to/zavtracast  Если находитесь за границей, можно подписаться на нас еще и на Patreon – https://patreon.com/zavtracast  Подписывайтесь на каналы ведущих: Радио Тимур – https://t.me/radiotimur  Фотодушнила – https://t.me/dushovato  Сказки Дядюшки Зомбака – https://t.me/zombaktales  Шоуноты Новости Завтракаста: заканчиваем прием заявок на репринт мерча с катаканой (https://zavtracast.ru/goods), а еще мы бодаемся с Tencent Music. Прозрачный выбор квартиры на Авито Недвижимости: https://bit.ly/428ZTXY Реклама. Рекламодатель ООО «КЕХ еКоммерц» ИНН: 7710668349  Erid:2W5zFGc3weg Слухи недели: Intergalactic Heretic Prophet и Witcher 4 задержатся до 2027 года, нас ждет новый Uncharted, Switch 2 уже в июне. Завтракаст смотрит: трейлер сериала Alien: Earth, трейлеры с Future Games Show (новый Painkiller, FBC Firebreak, Nitro Gen Omega, Kingmakers, Metal Eden, Cronos, Reanimal, High Above, Steel Seed, Dark Mass), фильмы Rust и Battle After Battle, трейлеры с Nintendo […] Запись Завтракаст 341 – Сакуры листок впервые появилась Zavtracast.

In this episode, Peter Lampert, lead portfolio manager of the International Equity Strategy, discusses the recent Chinese stimulus and its effects on emerging markets. He highlights key long-term risks in China, including weak sentiment, regulatory challenges, and geopolitical tensions, while emphasizing the potential of companies like Tencent and Tencent Music. The conversation also covers Turkey's Bim, a discount retailer thriving amid economic uncertainty. Peter explains how the portfolio's success stems from stock selection, especially with stealth performers like Vietnam's FPT and Taiwan's IGS, and the importance of balancing macro risks with company-specific growth potential.   Key Takeaways:   •China's recent stimulus signals a shift from restrictive policies to boosting economic growth, leveraging the U.S. Fed's easing cycle to inject liquidity and stabilize the economy. •The stimulus could mitigate three key challenges: weak consumer sentiment, regulatory uncertainty, and geopolitical risks. While long-term issues persist, the focus on growth reduces the likelihood of worst-case scenarios in the near term. •Macro factors and bottom-up analysis are deeply intertwined in portfolio decisions. As risks shift, so do portfolio positions. •Higher macro risks in China lead to applying higher discount rates and requiring better ROI. Growth projections for economically sensitive companies are adjusted lower due to structural challenges, leading to exits when valuations no longer meet the stricter risk criteria. •Companies with independent growth drivers can perform well despite China's economic challenges, as they are less reliant on the broader economy and can thrive even in a weaker market environment. •One example is Tencent, whose strong management, dominant WeChat position, and conservative monetization approach offer growth opportunities. Despite China's economic challenges, Tencent can pull monetization levers, making its valuation attractive amid broader pessimism. •This year's strong performance of the emerging markets portfolio has been driven by careful stock selection, focusing on lesser-known "stealth performers" like FPT, IGS, and Aegis Logistics, which consistently generate shareholder value. •Peter highlighted one such performer: Bim, a Turkish discount retailer. Bim has thrived despite economic challenges. With Turkey's economic outlook improving, Bim is positioned for long-term success as it continues to offer value to consumers.   Host: Rob Campbell, CFA, Mawer Institutional Portfolio Manager Guest: Peter Lampert, CFA, Mawer Portfolio Manager   This episode is available for download anywhere you get your podcasts.   Founded in 1974, Mawer Investment Management Ltd. (pronounced "more") is a privately owned independent investment firm managing assets for institutional and individual investors. Mawer employs over 250 people in Canada, U.S., and Singapore.    Visit Mawer at https://www.mawer.com    Follow us on social:    LinkedIn - https://www.linkedin.com/company/mawer-investment-management/  Instagram - https://www.instagram.com/mawerinvestmentmanagement/

In dieser Folge geht es um den Ticket-Skandal bei Oasis und die Preispolitik von Ticketmaster. Außerdem: der erste große Fall von KI-gestütztem Streaming-Betrug ist in den USA vor Gericht und wie Tencent Music mit Super-Premium-Abos die Zahlungsbereitschaft von Superfans maximiert. Erfahre die wichtigsten News aus der Musikindustrie!

Join Michelle Martin on her tour of markets! Hosted by Michelle Martin with Ryan Huang, they delve into Starbucks' bold leadership change as Brian Niccol leaves Chipotle for Starbucks. Explore Sea Limited's profit dip amidst rising costs, and Home Depot's cautious consumer outlook. Get insights into the market movements of Tencent Music, Nvidia, and more. Plus, discover the latest on innovative tech from ElevenLabs' IconicVoices.See omnystudio.com/listener for privacy information.

The Nasdaq and S&P 500 hit fresh all-time highs as a weak ISM services reading hit Treasury yields and raised Fed rate cut hopes. The jobs report looms Friday though. Chips and other techs were strong, with ASML back in a buy zone. But plenty of stocks from other sectors flashed buy signals, including Tencent Music and Angico-Eagle Mines.

Tercera hora de Visión Global que dedicamos a nuestro consultorio de Wall Street con Borja de Castro, analista de Banco Big. Analizamos compañías como Marathon Digital, SoundHound, Nvidia, ASML Holding ,Safran, SAP, Carvana, Twilio, Palantir, MicroStrategy, Tencent Music, Cactus, Lam Research, Intuitive Surgical, ResMed, SalesForce., Palo Alto, Toyota, Atlanta Braves Holdings, Amazon, IBM. Después, repaso a los índices de Wall Street en los últimos minutos de cotización y titulares empresariales. Terminamos con el último análisis de Wall Street con Joaquín Robles de XTB. Hablamos con él de la jornada de correcciones a la que se han visto sometidos los índices de renta variable nortemericana, las caídas más intensas de los últimos cinco meses para los principales índices. También analizamos las expectativas de los inversores de cara a la comparecencia de Jerome Powell mañana ante el Congreso de EEUU y la reunión del BCE que será el jueves.

Tercera hora de Visión Global que dedicamos a nuestro consultorio de Wall Street en el que nos acompaña Miguel Ángel Martínez, gestor de mercados en Tiempo de Bolsa. Con él analizamos compañías como Hershey's, Carvana, SoundHound, Western Digital, Tencent Music, Home Depot, Walmart, Franco Nevada, EHang Holdings, DexCom, Vaneck Semiconductors. Después, último ánalisis de mercados con Rafael Ojeda, de Fourtage Funds. Con él hablamos de perspectivas de la semana, del informe sobre la renta variable global que ha presentado Goldman Sachs, de las dudas sobre la demanda de petróleo y de la temporada de resultados que irá avanzando esta semana con el foco puesto mañana en Walmart y el miércoles en uno de los pesos pesados de la tecnología estadounidense: Nvidia. Hablamos también del Libro Beige de la Reserva Federal de Estados Unidos que se va a publicar el miércoles a las 20 hora peninsular española.

La Bolsa americana se presente este martes con movimientos moderados. En el radar siguen estado resultados corporativos, mientras que los inversores esperan más comentarios de miembros de la Reserva Federal para obtener más pistas sobre el momento de la primera reducción de tipos de interés del banco central. Eli Lilly sube un 4,2% tras pronosticar un beneficio para 2024 por encima de las estimaciones, impulsado por la demanda de su medicamento estrella para adelgazar. GE HealthCare Technologies gana más de un 25 tras superar expectativas. Lo mismo pasa con la química DuPont, que además anuncia un nuevo programa de recompra de acciones por valor de 1.000 millones de dólares y un aumento de su dividendo. Con la inflación enfriándose y el mercado laboral volviendo a un "mejor equilibrio" sin que el desempleo aumente significativamente, Deutsche Bank dice que ya no espera que la economía de EE.UU. entre en recesión este año. Y ganancias en las acciones estadounidenses de empresas chinas como Li Auto o Tencent Music. Avances para ellas de hasta el 8% tras medidas de estímulo chinas. En Bolsa española, y dentro de Ibex, Unicaja, Acerinox y Caixabank lideran los avances. Al frente de los descensos se ponen Solaria, Acciona Energía Renovables e Iberdrola.

Son protagonistas en la sesión americana los ADR chinos. Repuntan desde mínimos, reflejando las subidas de la Bolsa china esta pasada madrugada, tras una noticia y una promesa del gobierno chino de apoyo a los maltrechos mercados de renta variable del país. Las autoridades están tratando de movilizar unos 278 mil millones de dólares para comprar acciones en el país a través de la bolsa de Hong Kong. Los ADR de la empresa de comercio electrónico Alibaba suben más de un 7,4 tras tocar mínimos de más de un año en la sesión anterior. NYT cuenta que el cofundador Jack Ma ha comprado 50 millones de dólares en acciones en el trimestre. El minorista online JD.com sube otro 7% tras caer el lunes a mínimos de cinco años; la empresa de vehículos eléctricos Nio sube un 9 y Tencent Music sube un 5%. Tenemos eso y débiles resultados y previsiones de General Electric y 3M. Más positivos y mejor recibidos son los números de Halliburton. En Bolsa española, y dentro de Ibex, que deja atrás los 9.900 puntos, Aena, Amadeus y Ferrovial son los peores valores del día. Entre los mejores están las Acciona, IAG Y Grifols. Analizaremos algunos de ellos con Nuria Álvarez, de Renta 4 Banco.

What's driving Genting Singapore's stellar Q3 performance? What does the latest US CPI numbers suggest about the approach that the Feds may take moving forward? And what are Japan banks' profits soaring? Michelle Martin unpacks it all with Willie Keng, Founder, Dividend Titan. See omnystudio.com/listener for privacy information.

Here's what we got into on this very cold November morning:Crypto's melt-up is continuing, with rising trading volumes following in the wake of the price gains. For web3 believers, it's great news.The FT has a great interview with Sam Altman about how AI training is going to stay expensive for a long while; Microsoft is probably not worried about the costs, however.Didi's earnings dropped, kicking off a busy week for Chinese tech companies including Alibaba, NetEase, and Tencent Music.The Block is getting its cap table into shape.And Shekel Mobility raised an interesting round that we just had to talk about.Don't forget that next week is a holiday week here in the United States!For episode transcripts and more, head to Equity's Simplecast website.Equity drops at 7 a.m. PT every Monday, Wednesday and Friday, so subscribe to us on Apple Podcasts, Overcast, Spotify and all the casts. TechCrunch also has a great show on crypto, a show that interviews founders and more!

What's behind SIA's record profits? Why is Tesla going down the advertising route? Why is China's youth jobless rate at an all time high? Michelle Martin unwraps these details with Ryan Huang. See omnystudio.com/listener for privacy information.

The banking saga continues… And in the latest news, US Treasury Janet Yellen has stepped up to say that banking is stabilising. Meanwhile, ahead of the Fed's next meeting, can they hike rates while reassuring that the banking crisis can be contained? Michelle Martin and Ryan Huang explore these questions and more. See omnystudio.com/listener for privacy information.

Today's episode is a two-parter. Part 1 is on Spotify and YouTube's billion streams and views playlists. After reviewing both lists, there's a lot to learn about the streaming era and the strategy for both platforms respectively. I broke it all down with Tati Cirsiano, a music analyst at MIDiA Research.Spotify's list is more reflective of passive consumption. Spotify's top-performing songs are more correlated with radio hits than YouTube, which is a more active consumption experience.YouTube's Billion Views Club has more international stars than Spotify. With streaming continuing to grow across the world and plateauing in the United States, YouTube's list more reflects future music consumption. Part 2 is with Glenn Peoples from Billboard. We talk about its new Global Music Index that takes the publicly traded stocks from the biggest music companies in music to give an overall picture of stock performance for the industry. Here's everything Tati, Glenn, and I covered on the show:[3:03] Immediate takeaways from each Billions Club playlists[5:15] How “meme traffic” impacted both platforms[9:37] Passive consumption vs. active consumption[12:11] International differences between Spotify and YouTube[14:57] The Justin Bieber conundrum [16:36] How Spotify and YouTube enable fragmentation of fandom[21:26] Gym-going and seasonality's impact on streaming numbers[26:14] Short-form videos eventual effect on YouTube streaming[27:55] YouTube vs. Spotify competition intensifying [35:58] MIDiA's upcoming predictions report[38:33] What % of the Global Music index Spotify takes up[39:23] Why music industry stocks fell further than the overall market[46:25] Streaming platforms increasing prices[50:22] What goes into calculating Average Revenue Per User for Spotify[55:23] Spotify's podcast strategy & acquisitions[59:18] How much of Trapital's audience comes from Spotify[1:02:53] Why TikTok should launch it's own streaming service[1:09:39] What Glenn expects 2023 to look likeListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Tati Cirisano, @tatianacirisano, Glenn Peoples, @theglennpeoples Download The Culture Report here: https://trapital.ck.page/a23b7a6a4aSponsors:MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapitalEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo.TRANSCRIPTION[00:00:00] Tatiana Cirisano: Spotify's list is more of an accurate reflection of what the passive majority listens to, whereas YouTube is more of a reflection of what people are actively fans of and actively engaging, which is interesting because that was a question that we asked in our last episode where we were like, how do we measure, like, what are new ways to measure consumption? And I said, well, it'd be interesting if we could actually measure, you know, active consumption versus passive. And now here I'm looking at these two lists, I was like, oh, this is actually potentially an example of that.[00:00:37] Dan Runcie: Hey, welcome to The Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip-hop culture to the next level. [00:00:57] Dan Runcie: Today's episode is a two-parter. We normally don't do two-parters, but these topics were so closely linked, it made perfect sense, so we had to do it. The first part of this episode is a conversation I had with Tati Cirisano from MIDiA Research, and we talked about the Billions Clubs. Spotify and YouTube both have their respective playlists that have over a billion streams and views respectively. So we talked about what can we learn from both of these playlists together. What does it tell us about the most popular songs that do well on streaming, but also what can it tell us about these two platforms individually? What are the differences between the two playlists? Are there certain songs that perform better on others versus that and why? And what that means more broadly for the sector, Just given how big these companies are. Second part of the conversation, I talked to Glen Peoples who works for Billboard, and he recently released this Global Music Index, which is a value-based index that takes the publicly traded stocks from many of the biggest companies in music, combines them, and gives us an overall picture of how we can look at the performance of the music industry, at least in the publicly traded companies. Hint, it's been a down year for stocks overall, so nothing too surprising there. But we talk specifically about Spotify, who stock is noticeably in a tougher place, at least from, where it was year to date compared to some of the other companies. So we talked about why that is, what to expect, and more. Really great conversations. Let's start things off with Tati. Hope you enjoy it. [00:02:31] Dan Runcie: All right. Today we have Tati Cirisano back with us from MIDiA Research and we're going to dive into the Billions playlists that are both from Spotify and YouTube. What a fascinating list that's like a tripped-out memory lane, telling you what songs are popular, but also how these lists are different. I feel like they both have somewhere between like 3 to 400 songs, but there's a whole bunch of different trends here. I know that we both have a bunch of notes here, but Tati, I'll start with you. What stuck out to you most when you were looking through these lists? [00:03:03] Tatiana Cirisano: Oh my gosh. So there's so many things. I guess I'll start with the things that stuck out to me that don't have to do with differences, but just stuck out to me in terms of just looking at both. And one was that I felt like there was definitely a dominance of songs and artists from the last decade and maybe even just the last five years, which was interesting to me because there's been such a debate recently about is old music or what we call catalog, which is often not actually old music. But is it sort of cannibalizing new music? Does new music have more to compete with? And that whole argument. So it was interesting to see that there actually weren't that many or weren't relatively as many older songs. I believe the YouTube Billion Views Club had, like, one song from the 70s. It makes more sense with YouTube. And I think YouTube had even more dominance with more recent songs. And that kind of makes sense because if it's visual-based, maybe some of these songs we don't have the music videos, or maybe they're not as good. But I thought that that was interesting just off the bat from both ways. [00:04:03] Dan Runcie: Yeah, I would agree. I think that YouTube's list did trend much younger, and there's a whole MTV effect of just what music videos look like then and now. But I also feel like what's important is with both Spotify and YouTube, that when these platforms accelerated in growth, a lot of the artists that were releasing music around those times accelerated and growth too. And I feel like I saw some trends there. If I think about YouTube and its rapid growth phase more so in the early 2010s. There were a few songs there that I saw, whether it was like a party rock anthem or songs like that, that streamed really well on YouTube. Still nowhere near a billion streams on Spotify. And I think on the flip side of that, on Spotify, there were a few songs that were in that late 2010s era when Spotify was in its rapid growth phase that weren't on YouTube's playlist. So that was one of those interesting things. Like, for example, I think Drake's song Nice for What, a billion streams on Spotify. It's in the Billions Club, but it wasn't on YouTube's list. And I remember that music video, I think it's at the skating rink and he has, like, Issa Rae and all these people in it. So there was definitely some influence of the platforms too. [00:05:15] Tatiana Cirisano: Yeah. And that reminds me, too, of with the influence of platforms, it felt like, there were, so okay on both platforms. I felt like there were a lot of songs that were driven by, like, a viral hit or a novelty, which kind of just goes to show how embedded music has become in, like, meme culture and social media and just like online culture in general. But it also, like, looking at the differences within that, it felt like, this is like, I mean, you'd need to do more of a real, like, study and look at the actual numbers on this, but just from scrolling over the list, it seemed like, more of the TikTok traffic is going to Spotify. Like, there were a lot of songs that had a billion streams that I just remember being moments on TikTok, like Dreams and the Roses, Imanbek remix, like those songs and many others had passed a billion streams on Spotify, but had not cracked the YouTube list. And then on the flip side, YouTube had a lot of stuff that was more, like, just these, memes about, I'm trying to think of an example, like the Dame tu Cosita song and video, like that. There were actually an abundance of songs on the Billion Views Club for YouTube that were linked to these videos, including Crazy Frog. [00:06:24] Dan Runcie: I saw that. [00:06:25] Tatiana Cirisano: It like that was just, like, that was a moment in time in meme culture that kind of preceded TikTok humor. I don't know, like you can almost track meme culture's impact based on these two platforms lists as well with TikTok driving more traffic to Spotify and sort of the old, almost like Vine humor going more to YouTube. [00:06:45] Dan Runcie: That point makes me think of two things I also saw as well. So I believe the first YouTube video that hit a billion streams was Psy's Gangnam Style. I don't think that song has a billion streams or anywhere close to that on Spotify's list, which I think speaks to your point about just the visual nature of that. And that of course is a pre-TikTok era. The other song I think that lines up with this a bit, and this is because of memes within the music video itself is Nelly and Kelly Rowland's Dilemma music video. That is the most popular YouTube video that Nelly has, and I'm pretty sure that Kelly Rowland likely has too. And it's because of this one scene in the music video where Kelly is texting on this 2002's phone and she has Microsoft Excel open, and that's what she's actually using to text. So they're both, you know, generating money. And Kelly was even talking about an interview semi-recently talking about, I didn't even know what Microsoft Excel was. They just told me to type. But over time, and now we obviously have a different relationship with texting. That type of event can blow up on YouTube in a way that not necessarily going to Spotify. [00:07:54] Tatiana Cirisano: Right. Like, there's an inherent difference in just what you're going to do on these platforms. Like, there's a number of reasons why you might look up a music video on YouTube. Maybe you like the song, maybe there's a celebrity cameo, maybe somebody told you that. It's a crazy, wild video and you're just curious. Like, there's a lot more reasons I think than there are reasons why you would stream a song. So that just by definition kind of opens up a lot of differences in these lists. [00:08:18] Dan Runcie: The other thing, too, that you mentioned earlier was the decades and how YouTube's list only had one song that I think that was before 1980 and there was only a handful even from the 80s and the 90s as well. And while Spotify had a bit more, I still think it was quite less. Last time I looked at Spotify's list, it was less than 10% of the 300-plus songs that were more than 20 years old. And I have to assume YouTube may be even closer to 94-96%. Part of that, I think, as you mentioned, is music videos, but I also wonder is part of it with Spotify having a bit more of a close link to radio play and just things that were popular on the radio at the time. Like for instance, a song like Goo Goo Doll's, Iris, that was on Spotify's list is not on YouTube's list. I don't necessarily think the song had like a memorable music video necessarily, but I think it's the audio of it, it makes people think of, you know, what was that movie that it was in? I'm trying to remember the movie that it was in. It'll come to me, but there was some 90s movie that was in, I'm drawing a blank on it right now. Oh, City of Angels. So it was in that, and then, but I just don't think that people, like, recognized the music video they would like, it wasn't necessarily this big, like TRL hit the way that like a boy band song was. [00:09:37] Tatiana Cirisano: I noticed the same thing where looking over Spotify's list, it felt very much like just a list of every radio hit of the past 10 or 20 years that it was really, really tied to that. And I wonder, like, this kind of brings me to another thing that I wanted to talk to you about with this, which is how my sort of theory with another reason that these are different is that Spotify's list is more of an accurate reflection of what the passive majority listens to, whereas YouTube is more of a reflection of what people are actively fans of and actively engaging, which is interesting because that was a question that we asked in our last episode where we were like, how do we measure, like, what are new ways to measure consumption? And I said, well, it'd be interesting if we could actually measure, you know, active consumption versus passive. And now here I'm looking at these two lists, I was like, oh, this is actually potentially an example of that. And the other reason that came to me is because at MIDiA, we've recently done a report on looking at different types of entertainment and how much of consumption is in the background of another activity versus focused. And YouTube, like, people that watch music videos on YouTube are much more likely to be doing that as a focused activity in the foreground rather than something in the background, which makes sense because it's visual, there's, you know, social features to it, et cetera whereas they're a lot more likely to just put on their Spotify music in the background of something else. So I wonder if that's also part of the reason that Spotify seems to have more of a tie to radio and those songs that were just kind of popular for everyone whereas YouTube is more what are the songs and artists and videos that people are like engaging with.[00:11:09] Dan Runcie: That's a good point. It makes me think, well, on the YouTube side, I'm much more likely to listen to a YouTube playlist run, right? Like, I normally don't do that when I'm watching YouTube. I know YouTube has playlist, but I'm more likely to put a Spotify playlist on, which speaks to that. And I know some of the stuff that you've researched and the team has researched on MIDiA as well, is just this whole nature of probably a bit more on the digital stream provider side, but how to measure active versus passive engagement of, or actually listening to a song. And maybe this is a closer way to get a gauge for that because, you know, especially when these artists have these big week sales that'll come out and we'll see the numbers come through, it would be great to know, okay, how many people said yes, I want to listen to this Taylor Swift song from the Midnights album as opposed to people being like, oh, it just happened to be what's dominating today's top hits or if I'm listening to, you know, the number 50 or the top 50 songs in the US. These are the ones that happen to play. [00:12:11] Tatiana Cirisano: Yeah, yeah. That makes total sense. And I think the other reason why Spotify's list probably is more tied to radio is because it's a lot more, like the user base is less international than YouTube 'cause that was the biggest difference, looking at the two lists was just how few internet, like non-Western artists there were on Spotify's Billions Club versus YouTube's. [00:12:36] Dan Runcie: That stuck out too. And I think YouTube as well also had a list of artists that had the most Billion Views Club songs were and artists like Ozuna were high up on that list. I want to say he had at least 10 videos on YouTube that hit a billion. But on Spotify, it's far less. I think J Balvin was another one too, where there was a big discrepancy there. And yeah, I think the fact that YouTube has had much more of a market share and in general listenership in these regions outside of, you know, US and Western Europe as opposed to YouTube. So maybe part of that, where it's a signal of like, okay, this is where Spotify's clearly trying to grow and has been trying to get more share in. So, like, if Spotify achieved its goal, then it likely would have more of that and vice versa.[00:13:28] Tatiana Cirisano: Right. And then it is YouTube's sort of a more accurate representation of, like, what the music landscape of the future looks like in that way where it will be less dominated probably by Western artists. As you know, streaming sort of infiltrates all these other places. And that is so interesting for, like, the fragmentation conversation that we've been having because it means things are just further fractured and, you know, there's going to be lots of artists and songs on these lists that we've probably never heard of. Like, it was so interesting to me because part of the, like, excitement that I had to do this little project of, like, opening the two and comparing them was, I was excited to be surprised. I was like, I want to see what things are on the list that I'm like, I have never heard of that. Or what is that? How did that end up here? And I did not have that moment once looking at Spotify's playlist. But looking at YouTube's, there were so many videos and so many artists that I just had never heard of, and that was exciting to me. So I wonder how much that's a product of YouTube specifically versus that being what will happen inevitably when streaming is more widespread.[00:14:34] Dan Runcie: And were most of the surprises that you had, were most of them from an international perspective, or were there any Western-based music surprises? [00:14:43] Tatiana Cirisano: That's a good question. There were definitely a handful of Western ones that I can't think of right now, but the majority were probably just artists I'd never heard of or songs, yeah, artists I didn't know anything about that had billions and billions of views. Yeah, I don't know. Let me think about that. [00:14:57] Dan Runcie: Yeah. While you're thinking about that, one thing that stuck out to me was there were certain artists that I think surprised me both in a way of, oh, I thought there would've been more here, or there were actually a bit less here. One artist is Justin Bieber. So I know that Justin Bieber is very popular, but if you would've asked me who were the biggest artists of the 2010s, I probably would name four names, maybe even five names before I named his name. But if you look at, even if you're just looking at Western artists, the artist that is the one with the most songs on Spotify and the one that I believe has the most songs on YouTube as well, Justin Bieber is in the top three of both of those lists. I believe it's at least nine songs on Spotify and at least maybe 10 or so on YouTube. And there's something about that fandom that I didn't necessarily, I mean, I knew that he was huge. I knew that there were so many songs that were quite popular, especially the album that had, like, Sorry, and Love Yourself. Like, that one was huge, but I thought that there were other artists, like for instance, an artist like Beyoncé or even someone like Taylor Swift, who, I don't believe that Beyoncé had a song on the YouTube list at all, or a song that's really close to that. And at least up to now, I don't think that Taylor Swift has a song on Spotify's Billions List. I think that Blank Space will probably get there eventually, but I don't think she has a song this moment that's on that list. So to see the two of them who I think a lot of people largely think are two of the largest musicians in of the past decade, but to see someone like Bieber just have hit after hit on both of these lists, I was like, wow.[00:16:36]Tatiana Cirisano:That's so interesting, the Justin Bieber conundrum of all of this. Okay, I have a couple of thoughts on that. I think, so he was sort of Made on YouTube, right? That's where he started posting clips. That's where he was discovered. And I think something else that this ties into that I wanted to bring up is how, with YouTube, the artists that reach these Billion Views Club, I think probably are more likely to have sort of built a community on YouTube which Justin Bieber did, and that was kind of like the roots of his fandom. So when I was reading YouTube's, like, blog about the Billion Views Club, and there were a bunch of artists' quotes, and a lot of them had to do with the artist saying, you know, like, YouTube was a place to build a community. And Alan Walker was one of the artists who said that. And he was someone who, he's an electronic music artist who when I was looking at the YouTube Billions Views Club, he came up again and again and I was like, it seemed random to me because he's a great artist. He has a big community of fans, but I just didn't think that he would have billions of views. But he seems to credit the community aspect for that. So I think that could be part of it. But then as soon as you said, oh but he's also one of the top artists on Spotify, I'm like, okay, but that's a completely different story because there's no community building on Spotify. So is it just that the fans are, that obsessed with the music that they're, you know, maybe migrating over and streaming there as well, or are we just misremembering, you know, how big of an impact Justin Bieber had? And then that brought me to thinking about how, I mean I think this relates to Taylor as well, but they both built their fan bases at a time when things were just kind of a lot less congested. So I think it was in many ways, easier to get a billion views or billion streams on something a couple of years ago than it is now, now that people's tastes are so fragmented. So maybe that's also part of the reason why, like, I wonder how many of those streams came from, you know, pre-2015 or something versus from then on. I wonder when they were accumulated. So yeah, that's sort of my rant of thoughts. [00:18:41] Dan Runcie: That one about Bieber is a good one because I didn't think about that, but I think it's absolutely right. He was doing all those cover songs of all these other artists when he's like a teenager. He's growing the base there. And to the point that you had brought up in an article a couple of months ago, we talked about the last time we're on the podcast, he is in a different category than someone like a Beyoncé or Taylor Swift. Like, when Taylor made Teardrops On My G uitar. I don't even like, that was probably around the same time that YouTube started. Like in some ways her fandom predated so much of what people know as music. And of course, Beyonce became a solo artist from Destiny's Child well before YouTube even started. So I think that's a good point there with some of it. The Spotify thing though is interesting, yeah. I mean, I think those songs did get a lot of radio play as well. Like everything off of that album, that Bieber's album that Sorry came on as well. Like, they got a ton of radio plays. So that ties into the Spotify piece of it, too, and maybe a little bit of misremembering of certain things of, well, and you know, like I'm a little bit older than the custom Bieber demo, so there could be some of it there where they may not hit me in the same circles that, the same way that, you know, someone did with Beyoncé for instance.[00:19:53]Tatiana Cirisano:Yeah. I have another thought related to this that I feel like I'm struggling to articulate, but I'm going to try, which is that on the Spotify list and the YouTube list, I thought there was more overlap when it came to which older artists were on the list than there was when it comes to newer artists. And I wonder if that is also sort of further proof of this fragmentation that's happening because it would make sense that if a decade ago, two decades ago, people kind of had less to choose from to listen to. Everybody kind of has the same favorite artists from those decades that they've listened to enough to reach a billion streams. Yet now that people have more choice and things are fragmented more, their favorite artists and songs today are more varied. [00:20:39] Dan Runcie: Yeah. Yeah, no, I think there's something there because if you think about it, the lists are quite similar. And I think even if you look at YouTube's list, which I think even though YouTube's list is less reliant on radio, the biggest songs they have from the 80s and 90s are still the same songs that people have heard in bars and in stadiums and in TV commercials for decades now. So there's consistency there. Things do start to get a bit segmented to your point of where things are right now. So both of these platforms, in many ways enable the fragmentation of fandom. Their algorithms made it easy for people to have their own circles. So I do think that that piece of it is true. So I think that's a good point. [00:21:18] Tatiana Cirisano: Yeah. Okay. I'm glad I could put that into words 'cause it was one of those things where I had this thought and was like, does this make sense? [00:21:24] Dan Runcie: Yeah. Oh, yeah. [00:21:25] Tatiana Cirisano: Yeah. Fascinating.[00:21:26] Dan Runcie: Another thing too, that stuck out, this stuck out a bit more on Spotify's playlist than others, but how certain songs have shifted from when radio, for instance, was more playing songs that I think people more often wanted to hear in their cars. But Spotify, it's on-demand, it's everywhere. I think, for instance, workout music is something that we've seen a pretty large uptick on with Spotify. A song like Eminem's Till I Collapse, which is in the billions playlist for Spotify, I don't think I heard that song once on the radio. Maybe I'm misremembering things just relative to how big Eminem's hits were in the early 2000s. But that song is one of his most played songs. And I think it's because it's a song that a lot of guys listen to when they want to work out. Maybe it's something that they also will play, like, I don't think they to like LA Fitness necessarily like on the speakers, but I think it's more so of like a, no, let me go listen to this while I try to, you know, set PR on the bench press or whatever. So I feel like there's things like that, also seasonal music, right? Of course, just Mariah Carey and some of the records and accolades that All I Want For Christmas Is You has continued to reach and all of the remixes and versions she's done of that song, like that doesn't happen without streaming, right?[00:22:41] Tatiana Cirisano: I was going to say September was also on there, which, you know, every September everybody starts to sing. That is a seasonal song. So, yeah, no, I totally agree with you. And I also noticed that both lists had a lot of, like, upbeat music, like what you're saying, like stuff that people work out to. And I feel like it's for different reasons. Like I'm Spotify, maybe those types of songs dominate because like you're saying, they're the things that people put on in the background of something. Whereas on YouTube, the reason might be because those tend to have more vibrant videos. Like, I feel like more people are likely to watch videos for, you know, an upbeat reggaeton song than like some acoustic, I don't know, Taylor Swift song, even though she's a massive star. Like, overall, you know? And on that note, I don't know if this is just my, you know, anecdotal takeaway, you'd have to, again, like actually go through all the songs and do some data crunching. But I felt like Spotify had actually more varied in terms of like upbeat songs were on there. But also a lot of, Coldplay, a lot of like earlier Ed Sheeran, like, those more like, not so upbeat, more acoustic songs, whereas YouTube barely had any of those because again, I think there may be less likely to be something people watch the video of. I don't know. But that was interesting just how uptempo the two lists were. [00:23:59] Dan Runcie: Yeah. I would need to go back and check to see if like a song like Coldplay's Yellow. Is that on YouTube's list? [00:24:08] Tatiana Cirisano: It's on Spotify's, but I don't think it's on Youtube's.[00:24:10] Dan Runcie: And that would speak to that, right? It's a more somber video. I'm pretty sure Chris Martin's head is laying like sideways on the pavement in that video, right, or on the bed, if I remember correctly. So yeah, it's just not going to be as, I think, yes. Like, if you have five minutes, like, this is the thing that I want to be able to get to. So yeah, it's such a fascinating distinction. And I think with it, it's clear that with both of these platforms, the two of them are really trying to compete more and more with each other, with both Spotify trying to get more and more international, YouTube trying to have more and more influence just in terms of the overall revenue that they generate for the industry. So I do want to talk about the two of them as companies distinctly, but before we get there, I think that the international piece and just how revenue is generated for each of these streams or each of these views will be an interesting distinction over time because, especially with Spotify, these streams that the artists are generating don't necessarily get weighted the same in terms of the pro rata and the pools that they get put into and then getting separated. So if one artist has a bunch of streams from a bunch of their fans, but a lot of their fans are in places where the subscriptions cost $2 per month to subscribe to Spotify, or there's a over index of free accounts versus paid, like these numbers don't necessarily reflect that, which is fine. I think we're just trying to get a gauge for what listening looks like. But the revenue may actually look very different for, let's say, thinking about like one of these, you know, 80s or 90s radio hits. The person that's listening to that account may be more likely to be paying 10 or maybe soon $11 a month for Spotify subscription if I'm just thinking about what that consumer may be like and therefore essentially getting more revenue per stream than some of the newer artists that may have a younger aboard international fan base. So that was another point that I thought was interesting. We won't have that data, but just based on inference, I feel like that's a trend in terms of where it's going. [00:26:14] Tatiana Cirisano: Yeah, that makes sense. And I also wonder, like, if short form video becomes the more dominant form of consuming video, and the people that are watching music videos on YouTube shift to watching 32nd videos that use music on shorts, like, what will that do to the revenue mix? And it'll also depend on if the way that UGC platforms payout to the music industry changes where it's no longer this, you know, blanket payment for uses and is more per use. I think there's a lot that could get shifted around there. And I wonder if, like, does that mean YouTube is sort of cannibalizing its own, one of its own sources where people that are watching music videos are now going to shorts instead? Or is there an opportunity? Like, I think there's an opportunity for both. But I guess these are just questions that come up in my mind when I think about it. [00:27:02] Dan Runcie: Yeah, it's like in some ways it's similar to when Instagram adds stories, right? You're trying to get a sense, is this additive or is this going to take away, And I think YouTube's goal is that would be additive, but you're bringing up, I think, a valid thing where it's a little different with music and how you're registering streams. And I do think that there's a certain number of people that the better and better that shorts get, there's going to be less desire to go check out the actual video. And if these songs aren't registering, I think at least for a stream or a view, it's 30 seconds of listening needs to be registered, at least to be counted as a stream. Then if that doesn't happen on a short end, you're just getting these clips, then how does that impact the actual artist themselves, right? [00:27:47] Tatiana Cirisano: No, you put it really well. Like, the better that shorts gets, the more it might actually threaten people going to YouTube to watch the video.[00:27:55] Dan Runcie: Yeah. So many interesting, I think, things to just dive into with this. But I think it's a good point to just talk more broadly about Spotify and YouTube in general, just in terms of where they are, how both of them want the other one. And I think based on these blog posts and based on a number of the letters that, the emails that you'll see from Lyor Cohen when he's describing where things are with YouTube. There's clearly a goal to, you know, establish itself as the leader in the market. And I think the growth has been pretty strong, but of course Spotify, I think still with nearly 200 million paid subscribers is definitely, you know, I think leading on that front. But where do you see this play out in terms of whether or not the trends and clearly what these playlists tell us about the tendencies of these two companies and also where things are going and who we think will be more or less dominant, let's say five years from now? Let's not say 10 years. I think that's a bit too far out, but let's say five years from now. [00:28:51] Tatiana Cirisano: Yeah. Well, I've written about this, I've written a couple of blogs about this, but I think that YouTube does have a lot of advantages, especially for just where the music landscape is going. So one is that, in the streaming world, there's so little differentiation, right? All the DSPs kind of offer the same experience, the same catalog, the same price. But YouTube actually has a differentiating factor in that it's an audio-visual platform, and that they also have shorts, and they kind of have this ecosystem of apps that feed into each other. And that's sort of the second advantage, is that ecosystem aspect where, you know, based on our data, new generations of fans are really looking for more ways to actively participate in fandom and, you know, not just listen to a song, but create content around it. And YouTube has that it has this, you know, creator proposition. In many ways, YouTube was the first, arguably the first, you know, creator platform. The first place that you could post video content online and build a career around it. So, fans want this, but also artists need more ways to directly engage with their fans and monetize and actually not just be discovered, but sustain fandom and build communities. And that's the thing that I think so many social platforms lack, is they can help artists get discovered, but it's still really hard for them to connect the dots. So when you have YouTube, if you think about like the journey of, a fan through the ecosystem, you know, maybe they discover a song on shorts, and they can actually just click it and go straight, you know, go straight to the artist's YouTube page where maybe they watch the video that just came out and then they can go to YouTube music and stream the song, and it kind of creates this more frictionless experience. So I think we're already seeing a lot of consumers spend more of their music time on platforms that let them play around with the music, like the TikToks of the world and the shorts of the world. So if you have an ecosystem that combines that with streaming and the ability to just go seamlessly from one to the other, I think that's really powerful. And that's also why, you know, ByteDance launching a streaming service could really change the game. I think ByteDance and YouTube have a lot of the same advantages in that space. So I think YouTube is well positioned for the current era and what both artists are looking for and what fans are looking for, I guess is how I would frame that.[00:31:22] Dan Runcie: Yeah. I think that YouTube's biggest advantage with this is that A, it still is under a much larger company that prints money from search, which is Google, right? So the fact that it in itself is the second largest search engine, largely because of Google, I think that piece of it will serve well. And I think secondly, the fact that when there's so many more things competing for your attention, whatever can make that have less friction, it can make it easier for people to access that platform as we've seen based on the rise of TikTok, I think those platforms do tend to win out in this area where you're ultimately trying to either capture or monetize attention. And the way that streaming is going, even though I know it can be lucrative for artists that own their assets or have favorable terms, it is a bit more of a measure of capturing attention for a lot of artists and being able to essentially market and position themselves out there to share what they have so that they can monetize elsewhere. And I do think that, I know I've talked about this previously, but just Spotify may be in a little bit more of a difficult position just given the fact that its ultimate goal is still to try to get more monetization from its non-music audio, whether it's your podcast or your audiobooks and stuff like that.[00:32:41] Dan Runcie: And I think that is a little bit of a tougher bet relative to YouTube, China. going with shorts and essentially try to compete more directly with TikTok or just other things in general that are making it easier. That said, I still think that Spotify is more strong from a product perspective of actually being able to, you know, ease of use of listening, being able to find and skip to the song, and being able to listen to a song on my phone you know, turning off the screen and then putting it in my pocket. And I know that YouTube does now allow you essentially to do that if you pay for subscription, but I think the friction, at least in the consumer's mind, is a little different than it is with doing that with Spotify, even because you do that with Spotify for free account especially. So I do think that there are some pros and cons there, but to your point, I do think that because YouTube is moving more in the direction of creating less friction for people to use its product and just the fact that it's visual, it's engaged, and to your other point, it's a bit more directly connected to fans being able to actively choose what they want to listen to, like the data and all those things are going to be more impactful and insightful there.[00:33:48] Tatiana Cirisano: Right, Right. So I think artists will kind of go to wherever the fans and the remuneration opportunities are, and I think YouTube is right now, providing more of that than Spotify is. Like, Spotify is a place where you can monetize scale, but you can't monetize niche. And YouTube is an ecosystem where you can monetize both. And I think there's no reason why streaming services in general shouldn't be a place where you can monetize both. But we haven't really seen that happen yet, and I think YouTube is moving in that direction. So I guess I come at this question because of the work that I do from such a perspective of what do the artists and the fans want. But of course, that doesn't necessarily mean that alone isn't going to, you know, make YouTube overtake Spotify. So I guess I'm a little bit biased just based on the work that I do. [00:34:38] Dan Runcie: Yeah, I could see that. Because there's just so many other, there's just so many factors at play here. It's such a dominant position and at the end of the day, nearly 200 million people in the world are paying for the service and that is much higher than a lot of these other services. It'll be interesting to see how this plays out though. I feel like to some of the points you brought up earlier. Just going back to the Billions Club, if we had this conversation two years from now, I'd be interested to see, one, which old songs creep back up and which songs that have come up recently end up rising up and hitting those places, and does it line up with a lot of the points that we brought up here? So I'm excited to see what that looks like. [00:35:15] Tatiana Cirisano: No, me too. And also what the pace will be like? Will there be just way more songs that have hit a billion streams in a shorter amount of time, or will the opposite trend happen because of fragmentation? Like, I'm not, I'm not really sure. So yeah, as always, excited to see definitely what comes next. [00:35:30] Dan Runcie: Well, Tati, this is great. Thanks for coming to share these insights. And I think now I got to go back and count how many Crazy Frog videos there were on YouTube's list because when I saw that, I'm glad you brought that up. I was just like, my goodness, I forgot all about this trend. [00:35:45] Tatiana Cirisano: Yeah, at least in that ratio, you know, we have confirmed YouTube wins. [00:35:49] Dan Runcie: All right. Before we let you go, what do you have coming down the pipeline? Are there any upcoming research or any recent things that you've put out that listeners should keep an eye out for?[00:35:58] Tatiana Cirisano: Yeah, I would say coming up one of my favorite things that we do at MIDiA Research is our predictions report where every year, at the end of the year, we put out predictions for the coming year. And we also rate ourselves in terms of how much we got right from the past year. I believe our success rate is somewhere above 80%.[00:36:16] Dan Runcie: That's legit. [00:36:17] Tatiana Cirisano: That's great. But yeah, so we always do I believe we always do a free webinar on that. It was free last year. So look out for that because it's a great chance to interact with us even if you're not a client. And it's a lot of fun. [00:36:30] Dan Runcie: Awesome, we'll look out for that and, yeah.[00:36:33] Tatiana Cirisano: Yeah.[00:36:33] Dan Runcie: We'll have to see. I'm curious about what the hit rate will be this year. So definitely let us know what the success rate is...[00:36:39] Tatiana Cirisano: We will.[00:36:40] Dan Runcie: from the ones you made last year, heading into this year. [00:36:42] Tatiana Cirisano: Awesome. Thanks, Dan. [00:36:43] Dan Runcie: Awesome. Well, thank you. This is great. [00:36:45] Dan Runcie: All right. Hope you enjoyed that first part with Tati breaking down the Billions Clubs. Here's my chat with Glenn Peoples.[00:36:53] Dan Runcie: All right. Today we have Glenn Peoples with us who is from Billboard, and he just released this Global Music Index, which has stated that music stocks are down 44% this year, twice as much as the market. And Glenn, it'd be great to start here. What's going on? Why are socks down in the music industry?[00:37:13] Glenn Peoples: Hey, thanks for having me. Well, stocks are down in general. So it's not that just music that's having a tough time at the stock market. You know, a big component of the Global Music Index, which I created for Billboard is Spotify. And Spotify has had a tough year, just like Netflix has had a tough year. There's, I think, enthusiasm for streaming stocks was high at the beginning of the pandemic and dropped quite a bit since then. And investors are not looking at growth so much as looking at margins, looking at profits, and so they're expecting a lot more from streaming services right now. So it's a tough time to be a streaming service, whether you're Netflix, whether you're Spotify. You could say, well, the investors got carried away. They were overvalued. Yeah, maybe so. It's just been a tough year for streaming services and when Spotify is that big of a component of the index, it's down, well, as of yesterday, it's down 60% for the year. And so that's a lot of market cap that's gone and that's dragging down the index. And that's the short version. [00:38:17] Dan Runcie: Right. So of course, it's a value-based index. Market cap is what defines it. And just so listeners know, how big of a factor is Spotify? Like, how much is their stock and their market cap weighted in terms of the overall index?[00:38:33] Glenn Peoples: I would say it's probably, again, this is just ballpark. It's probably about 15% of the value of the index. It was a lot more obviously. I would say right now at its current price, it's 10 to 15%. Universal Music Group is the biggest component of the index, and there's some other companies just a handful that really stand out above everybody else. Live Nation, Warner Music Group, Sirius XM are some of the big ones. [00:39:02] Dan Runcie: The thing that stuck out to me about it is that, of course, Spotify stock is a huge piece of it, but even if you were to take out Spotify, the non-Spotify stocks in that index still are down more than the overall market has been this past year. So it also makes me think that there may be something going on that's a bit deeper than just streaming. [00:39:23] Glenn Peoples: Yeah, it's not just streaming. You know, a lot of music companies had a great 2021 and I think that they just had further to fall. So there were some really high valuations and it just sets these companies up for a pretty big fall when investor sentiment turns and the market turns. And ever since the Fed announced in, I believe, December, that it was going to start raising interest rates. You know, stocks have started to fall and Spotify definitely started to fall then. And it's been a long, what is that, roughly 10 months since then. Things have calmed down a bit, but stocks are, boy, they're really having a tough time. It's really volatile a lot there. I think there's two ways to look at it. One is what's the value of the stock? What's the value of the company as valued by investors? And what's the potential of the company based on the company itself and the intellectual property it has? And those two don't always line up. You know, Spotify I still think is a very good company. I think it has a lot of work to do, but it's growing at a good clip and I think they have good people there. But when you are a streaming stock and you're facing really a once-in-a-generation kind of environment with very bad inflation you know, crazy, I was about to say unemployment, but unemployment is not that bad. It's just a very strange time in the market and a very strange macroeconomic climate. And you're seeing good companies have very difficult times with their stock prices. You know, Universal Music Group is down. But the market is down overall and Universal's not going to escape the just general downturn of the market. That's saying something because Universal is the biggest music company out there holding up market share very well has a big share of the top 10, any given time, big artists. But you can't correlate stock market performance with company performance just perfectly. It's a very strange time in the macroeconomic climate right now. [00:41:23] Dan Runcie: Yeah. The interesting thing with the major record label stocks, and even some of these other companies that, yeah, even though they may not be streaming services themselves, when streaming makes up such a high percentage of the overall revenue for this entire industry, then Spotify's stock is in many ways going to be at least somewhat correlated to what we see with Universal given the fact that these companies have equity in each other, they're so dependent on each other, so a lot of that is given. You mentioned Live Nation earlier, and I think that their stock is interesting, too, because even though it isn't directly tied to streaming, that stock had hit record highs in the middle of the pandemic when there were no shows going on. So that just spoke to how much of a disconnect there was if you looked at how the company was actually doing in 2020 and even in 2021 when there were nowhere near as many shows as they had had in 2019, but they now are actually being able to realize more of that revenue. But the stock has adjusted in a lot of ways since. So there is a bit of this disconnect. I think there was just a good amount of excitement as well about what's happening in music as an investment class. Specifically, you looked at all of the catalog sales and the booms that happen thanks to the low-interest rates, and they're no longer low anymore. So you're also seeing that play a factor in, and you've also heard some of the acquirers of those catalogs expressing a bit of disappointment that the returns aren't quite what they thought the returns were going to be as well. So some of those things, I think, Brought some of the temperament and a lot of the companies that are in your index down to, I don't want to say necessarily down to earth, because I think there's still plenty of room for growth for a lot of them, but it's clear that we've moved past that era of the pandemic when things were just high for the pure speculation of where it could be in a few years.[00:43:15] Glenn Peoples: Yeah, I think the honeymoon is over for a lot of music stocks. You know, music as an asset class was really attractive. And, you know, look, just the fact that Universal is public and Warner is public once again, and there are numerous streaming services from Tencent Music and Cloud Music in China to Anghami and Spotify and Deezer. There's a lot of music companies that are publicly traded right now and that says a lot about music as an asset, as a segment, set aside the problems it's had in the last year. So music companies had a great 2020 and 2021, and it's been downhill since then. But the fact that there are a lot of publicly traded music companies right now, and so much investor interest in music catalogs like you mentioned, I think says a lot about music as an asset class, music as an investment in general. Look, five years ago, how many publicly traded music companies were there? I mean, Spotify has been public for about five years. Pandora was before it was bought by Sirius. You know, but you didn't have Tencent, you didn't have Cloud Music, you didn't have Anghami, you didn't have Deezer, you didn't have Reservoir Media, or Believe. Warner was private. Universal was private. So the fact that Wall Street has taken a liking to music, I think says a lot despite what the stock prices say right now. [00:44:40] Dan Runcie: Yeah, I agree. The fact that this wasn't even possible, just shows what's happened. And a lot of companies, even outside of music, are starting to have money at least level back off now that the pandemic is over, now that the quarantine highs for a lot of these stocks are over. I'm interested to see where did things go from here, because I still believe that there's a ton of potential in each of these companies if the expectations and if the investors expectations of the market are where they need to be. I still think that music is a hot and a popular asset class, especially for investors. But is it 30 x value? Is it 30 x multiples for some of these catalogs that just bring 'em to certain valuations, or does it need to be more level? Because I do think that there's still plenty of value if those multiples and a lot of those things are where they should be. And even thinking about whether it's live entertainment or streaming in general, I think there's still plenty of room for growth. There's still a lot of opportunities there, but it's just being able to get a clear idea on, what is the actual TAM? What is the actual total addressable market for these areas? And I think if anything, you saw that challenge happen with a lot of the discourse around Netflix and what the future is there, you started to saw things drop right around they had, you know, around 220 million subscribers. I think Spotify was likely asking similar questions, too, and I still think there's growth, you know, for the right price there's always going to be something, but what that price would be and how many people are willing to pay for it, knowing that, of course, if it's a paid product, you're not going to hit all 8 billion people in the world. But there is some actual number out there. So I think the more clarity that there is on that, and of course that's part of the game to figure that out, but the closer that you can get to what that actually is, the more that investors can make sound decisions. [00:46:25] Glenn Peoples: Yeah. You know, as we're talking now, there's a lot going on. We're a couple of hours away from Spotify releasing third-quarter earnings, which will, I'm not sure how much that'll say, look, that's backward-looking, but the company will take the opportunity to talk about a lot of things investors and analysts are curious about. Yesterday Apple announced it was raising prices for Apple Music and Apple TV Plus, and the Apple bundle. And YouTube premium prices went up as well, I believe, for the family plan only. And what do we see today? What we see Universal shares went up almost 12% and closed. They're trading the Netherlands, so that's already closed. In the middle of the day, Warner Music was up 7% to 8% at its best. Believe was up. Hipgnosis shares were up about, and those closed, that trades in London. That closed up about 8% I think. So investors, I think, get the news that they've really been waiting for, that prices are finally going to go up. You know, Netflix has raised prices. Pricing in streaming video on demand is a lot more flexible than it is for music and music prices have barely budged in over a decade, and executives have been saying for months and for years that prices will go up. But they haven't. [00:47:45] Dan Runcie: Why do think it took this long? [00:47:47] Glenn Peoples: Well, I think, companies were much more concerned about growing the market than maximizing revenue per customer. Is it more important to get the customer in the door or to charge more per customers is the question, and I think that they've been much more concerned about building the customer base and building relationships. And then at some point, it's a timing issue. When do you raise price? When can you do it without turning people off? And I think what we see these days with inflation is what it is, is companies might feel a little more emboldened to just raise price and think they can get away with it. Name one price that's not up in the last year. Except music streaming, it seems like everything else is up. And so somebody had to be, you know, first to do it and YouTube and Apple did it, which could embolden Spotify to do it finally. And I think my impression of Universal's shares going up almost 12% is that they think Spotify's going to raise prices as well. That doesn't seem like a bump just from Apple. That seems like a bump from broad price increases across the board.[00:48:51] Dan Runcie: Yeah, I would agree. I think that it's going to happen and the reason why I think it probably hasn't happened until this point I was talking to Will Page about this, who is a former chief economist at Spotify. And his perspective on it was that the difference, and it was mine as well, the difference between why a company like Netflix would continue to increase prices but Spotify hasn't a bit in line with the type of content that you're getting. In a lot of ways, Spotify and Apple are offering a lot of the same thing. Sure. I know Spotify has its podcasting, Apple has its podcasting and non-music audio, and we'll talk about that in a second. But I think when they're all offering the same thing, then there's a bit more pressure to try to offer price discounts and bundles and stuff like that as opposed to Netflix or some of those companies offering differentiated content. So you're more buying into something that you're going to get on Netflix that you can't get on Hulu or on Disney Plus, or on HBO Max or one of the other services. So I feel like there's a factor of it there. And I remember a few years ago there was some tests about it and some discussions where in Europe they were exploring what. 12.99 would look like, or maybe it was 13.99. But I didn't hear anything necessarily come definitive from that. Maybe it was 11.99, but there was some price increase that they were exploring in Europe. So it feels like it's inevitable that Spotify will join in and yeah, if your price is going to increase 10%, then your stock price will likely increase around 10% as well.[00:50:22] Glenn Peoples: Yeah, that makes sense. Most people look at how much revenue a company takes in every month. ARPU, average revenue per user, Spotify considers a metric lifetime value. And so it's not focused solely on price. Price plays into lifetime value, but so does churn rate, and the family plan is something that is reduced churn rate. As churn goes down, lifetime value goes up. I mean, for a subscription business, what you don't want are people coming in and out and churning in and churning out and taking time off or just leaving the subscription service for good. So if you cut down churn rate, the value goes up, and that's more value to creators. That's more value to publishers, to record labels, and to Spotify without raising price. If you can work on lifetime value without having to raise price, that might be the low-hanging fruit that you do in the meantime before you consider raising prices. And now it appears like everybody's to the point where they say, okay, now we can raise prices.[00:51:22] Dan Runcie: Right. Yeah. I think the fact that we're here says a lot. So we'll continue to see, and I'm sure that the next price increase after this probably won't take this long if this is the one that got us here. The thing with Spotify though, is I'm sure we'll see what investors feel more broadly about the company's strategy because non-music, audio and podcasting specifically has been part of its big bet on how it can have better margins, how it can just essentially make more money and have something that they can continue to grow. But there's been a lot of pushback. There's been a lot of canceled shows and studios, and some of that's standard for the industry. But some of it also feels like there's more and more question marks on, okay, they've spent billions on this. Is this going to work? Is this going to take off the way that they expect it to? What's your current take on the future outlook for Spotify's non-music audio strategy? [00:52:16] Glenn Peoples: I think it's a good strategy. You build up a platform starting with music. You attract hundreds of thousands of users and then you turn it into an audio platform that's not just music and you introduce spoken word content. I think it's going to take quite a few years. So I think expecting changes, you know, we're only two years into some of their acquisitions for podcast studios and for platforms such as Megaphone. I know investors might not want to wait five years, but it's going to take a while. And, you know, long-term Spotify thinks that they can get some pretty good margins out of podcasts, margins that exceed what they get from music. They think that they can get the math when I look at audiobook margins, they bought an audiobook distributor called Findaway. And I think as retailer and distributor, Spotify gets about 60% of sales. Audiobook download margins are pretty good and that's about double what they're going to get for music. How much business is out there for audiobooks? Yeah, I mean, right now probably not that much, but over time I'm sure they can build it into something much more considerable. And, you know, if it's 60% gross margin, that's really good. You're not going to get that in music. You can build a platform based on music, but then eventually you got to go looking elsewhere for margins. And so I think it can work out for Spotify, it's just going to take a while and some people might not have much patience. I get that. But it's going to take a while. [00:53:41] Dan Runcie: It's something I've thought a lot about because I understand that podcasting itself is something where the audience takes time to build. You want to be able to see these shows grow over time. But I also think that so much of their biggest growth has come from acquiring shows that are already popular. And I know they've made big acquisitions, whether as with Gimlet or with The Ringer, or they have the exclusive deal with, or the licensing deal with Joe Rogan. But how many others of those are out there that they haven't necessarily had? Are there going to be more in-house ones that can build up? Because I feel like one of the challenges I've seen with the strategy is that they've had a lot of money spent on getting these big-name celebrities to then have shows where they have other big-name celebrities as guests and things like that. And a lot of that is antithetical to what's made so much of podcasting be effective for a lot of folks. And sometimes it works well, but a lot of times it doesn't. And it's content. You do have to make some bets, but I'm interested to see how many more of those wins that are going to be out there for them, because that's the piece that at least gives you some bump 'cause at least we've seen the numbers and successes from the popular acquisitions, the shows that they've had. It's the in-house development where I think by nature there is a natural, whether it's just the likelihood of success of you're starting anything new, not everything is going to take off, but the real success metric will be, okay, two, three years from now, we're there Spotify originals that are at the top of the charts and are creating and demanding that audience the same way that some of these other shows, whether it's outside of the network or some of the ones that they've acquired are able to do?[00:55:23] Glenn Peoples: Yeah, it looks to me like they have kind of a three-prong attack where they spend mightily for somebody like Joe Rogan and that's not going to last forever. That licensing deal will be up, I don't know, maybe next year. And what do they renew or do they go spend a lot of money on somebody else? I mean, Joe Rogan brings 'em a lot of a lot of listeners I'd wager. So they have a very small number of really big shows, and then they have a lot of in-house shows with Parcast, The Ringer, Gimlet, and they can go acquire some other ones. And then they have a lot of DIY stuff. And then you get into the long tail. And this is where I think there's a lot of potential to monetize listening just like there would be in music. They bought a platform called Anchor. That's a podcast creation and distribution. Megaphone rather, is more the distribution tool. And so they have the infrastructure in place to let people create shows, distribute shows, and now they can monetize those shows. Now, do advertisers want to monetize or advertise against, you know, podcasts nobody's heard of. Not sure exactly how that's going to work. You might be not getting good advertising dollars on some of the shows, but to the extent that you can monetize the long tail podcast, Spotify is building that. And if anybody ca

After Billboard officially announced its entry into the Chinese market, many famous Chinese singers expressed on Weibo to welcome it to China. As a result, this matter soon hit the hot search of Chinese Weibo. And it seems that this time Billboard is going to cooperate with Tencent Music, the mainstream music platform in China.Join other motivated learners on your Chinese learning journey with maayot. Receive a daily Chinese reading in Mandarin Chinese in your inbox. Full text in Chinese, daily quiz to test your understanding, one-click dictionary, new words, etc.Got a question or comment? Reach out to us at contact[at]maayot.com

On August 15th, 2022, Steve Grzanich shares today's potential market drivers: August’s Empire State manufacturing index NAHB home builders index Earnings from Weber, Tencent Music, and more

Der DAX ist gut in die neue Handelswoche gestartet. Immerhin schaffte er ein kleines Plus von 0,5 Prozent. Stellt sich die Frage, ob sich der Leitindex über 14.500 Punkten stabilisieren kann. Die Vorgaben von der Wall Street sprechen dafür.

On March 21st, 2022, Steve Grzanich shares today's potential market drivers: Chicago federal national activity index Earnings from Nike, Tencent Music, and more

China telah melarang lesen musik digital dari diberikan. Ini memberi implikasi negatif terhadap industri teknologi dan juga musik di negara itu. Tencent Music adalah yang paling terjejas susulan larangan ini. Selain itu, Teman Amanz merungkai isu Apple, melangkaui modal pasaran bernilai lebih $3 trillion. Apakah ertinya jika sebuah syarikat seperti Apple dinilaikan sebegitu tinggi? Ikuti perbincangan Mat Pis dan Yem sekarang. Podcast ini disokong oleh Sapura Mines. Jika anda ingin memulakan perniagaan Cloud Kitchen, atau ingin menyewa tapak untuk konvensyen atau apa jua acara, layari www.sapuraproperty.com.my untuk ketahui lebih lanjut, bagaimana Sapura Mines boleh membantu untuk mengembangkan perniagaan anda.

Today I welcome back a former guest, Sharif Farha from Safehouse Capital in Dubai. We both manage consumer-focused portfolios and todays conversation we cover a host of brands and thematics. We talked about the loathing of anything with the word "growth" attached to it and talk about why we own: RH - Restoration Hardware & Amazon Why Sharif likes and owns: Sony, Activision, Spotify, Universal Music, Crocs We also talk about China Tech and his stakes in Alibaba, TenCent and TenCent Music. https://www.safehousecap.com/ https://www.globalbrandsmatter.com/dynamic-portfolio

Mathem slukar Mat.se. En möjlig win-win för ägarna Kinnevik och Axfood – men hur påverkas kunderna?Digitalpodden avhandlar även storyn bakom Traderas lednings köp av det egna bolaget från ägaren Paypal. Vad betalade de och vad händer nu? Henrik Ek har träffat miljardbolaget Youbicos ena medgrundare - och testat bolagets säkerhetsnyckel. Och Jonas Leijonhufvud har dykt ner i Spotifys ägarband till Kinas ledande musikstreamingbolag Tencent Music. See acast.com/privacy for privacy and opt-out information.

Listen to a recap of the top stories of the day from 9to5Mac. 9to5Mac Daily is available on iTunes and Apple's Podcasts app, Stitcher, TuneIn, Google Play, or through our dedicated RSS feed for Overcast and other podcast players. Sponsored by Direct Mail: Create and send great looking email newsletters with Direct Mail, an easy to use email marketing app for the Mac. Get started for free and save 10% when you sign up for any pricing plan. New episodes of 9to5Mac Daily are recorded every weekday. Subscribe to our podcast in iTunes/Apple Podcast or your favorite podcast player to guarantee new episodes are delivered as soon as they're available. Stories discussed in this episode:   Apple Store app for iOS makes it easier to save items with new 'lists' feature, more Apple Music closes deal with Tencent Music, now features new catalog of Chinese songs USB-C iPhone sold on eBay for $86k after hitting six figures [U] Enjoy the podcast?: Shop Apple at Amazon to support 9to5Mac Daily! Follow Chance: Twitter: @ChanceHMiller Listen & Subscribe: Apple Podcasts Overcast RSS Stitcher TuneIn Google Play Share your thoughts! Drop us a line at happyhour@9to5mac.com. You can also rate us in Apple Podcasts or recommend us in Overcast to help more people discover the show!

Hello and welcome back to Equity, TechCrunch's venture capital-focused podcast where we unpack the numbers behind the headlines.This is Equity Monday, our weekly kickoff that tracks the latest private market news, talks about the coming week, digs into some recent funding rounds and mulls over a larger theme or narrative from the private markets. You can follow the show on Twitter here. I also tweet.It's a surreal day to talk about technology, but here we are. If you can pull your eyes away from the greater geopolitical tragedy that is our world today, here's what we talked about:T Mobile may have suffered a material breach. If this bears out, it could be a leading tech story for the week. Vice has confirmed that at least some of the data in the leak appears genuine.Indian travel service ixigo is going public. The company's IPO follows Zomato's own domestic debut.And speaking of IPOs, the Tencent Music offering in Hong Kong could be on hold until next year.And a trio of American tech companies raised a raft of capital as last week concluded. Carta put together $500 million in a huge deal, as Chime raised $750 million. And as the week closed, Discord was reported to be hunting up a new round at a $15 billion price tag.And stocks are set to open lower this morning. That's the morning report. Equity is back on Wednesday.

Hello and welcome back to Equity, TechCrunch's venture capital-focused podcast where we unpack the numbers behind the headlines.This is Equity Monday, our weekly kickoff that tracks the latest private market news, talks about the coming week, digs into some recent funding rounds and mulls over a larger theme or narrative from the private markets. You can follow the show on Twitter here. I also tweet.It's a surreal day to talk about technology, but here we are. If you can pull your eyes away from the greater geopolitical tragedy that is our world today, here's what we talked about:T Mobile may have suffered a material breach. If this bears out, it could be a leading tech story for the week. Vice has confirmed that at least some of the data in the leak appears genuine.Indian travel service ixigo is going public. The company's IPO follows Zomato's own domestic debut.And speaking of IPOs, the Tencent Music offering in Hong Kong could be on hold until next year.And a trio of American tech companies raised a raft of capital as last week concluded. Carta put together $500 million in a huge deal, as Chime raised $750 million. And as the week closed, Discord was reported to be hunting up a new round at a $15 billion price tag.And stocks are set to open lower this morning. That's the morning report. Equity is back on Wednesday.

Hello and welcome back to Equity, TechCrunch's venture capital-focused podcast where we unpack the numbers behind the headlines.This is Equity Monday, our weekly kickoff that tracks the latest private market news, talks about the coming week, digs into some recent funding rounds and mulls over a larger theme or narrative from the private markets. You can follow the show on Twitter here and myself here.Ever wake up to just a massive wall of news? That was us this morning, so we had to pick and choose. But since this show is about getting you caught up, we decided to focus on the largest, broadest new information that we could:Asian stocks were down, European shares are lower, and American equities are set to open underwater. Bitcoin had a great weekend, however.China's edtech crackdown continued over the weekend, with the country's ruling party setting new rules for online tutoring companies; they can no longer go public and will be forced to become non-profit entities. Chinese edtech stocks around the world fell.China's larger tech crackdown continued over the weekend and into the week, with new moves against the present-day business models of both food delivery companies, and Tencent Music. The former must ensure minimum incomes, while the latter must give up exclusive rights deals. Shares fell.The Jam City SPAC is kaput. It will not be the last similar deal to fall apart.And we chatted about this bit of Rivian news, as it stood out to us.All that and we had a good time. Hugs and love from the Equity crew, chat Wednesday!

Hello and welcome back to Equity, TechCrunch's venture capital-focused podcast where we unpack the numbers behind the headlines.This is Equity Monday, our weekly kickoff that tracks the latest private market news, talks about the coming week, digs into some recent funding rounds and mulls over a larger theme or narrative from the private markets. You can follow the show on Twitter here and myself here.Ever wake up to just a massive wall of news? That was us this morning, so we had to pick and choose. But since this show is about getting you caught up, we decided to focus on the largest, broadest new information that we could:Asian stocks were down, European shares are lower, and American equities are set to open underwater. Bitcoin had a great weekend, however.China's edtech crackdown continued over the weekend, with the country's ruling party setting new rules for online tutoring companies; they can no longer go public and will be forced to become non-profit entities. Chinese edtech stocks around the world fell.China's larger tech crackdown continued over the weekend and into the week, with new moves against the present-day business models of both food delivery companies, and Tencent Music. The former must ensure minimum incomes, while the latter must give up exclusive rights deals. Shares fell.The Jam City SPAC is kaput. It will not be the last similar deal to fall apart.And we chatted about this bit of Rivian news, as it stood out to us.All that and we had a good time. Hugs and love from the Equity crew, chat Wednesday!

Wir stellen uns auf die Woche der Big Tech Earnings ein. Nach den guten Zahlen von Twitter und Snap und vor allem nach der Kursexplosion von Snap steigen auf breiter Front die Kursziele an der Wall Street für Amazon und Facebook; Apple wird diese Woche auch melden und Tesla bereits am Montag nach Handelsende. Die Messlatte also hängt ausgesprochen hoch. In der Tat sind die Analystenschätzungen für den S&P 500 bis Anfang kommenden Jahres zu niedrig. Und: China lässt es krachen und zwar im wahrsten Sinne des Wortes. Chinesische Aktien, die an der Wall Street gehandelt werden tendieren erneut schwächer. Der Staat geht gegen den Education-Bereich vor und unter anderem auch gegen Tencent Music. Chinesische Aktien also haben weiterhin schlechte Karten. Abonniere den Podcast, um keine Folge zu verpassen! ____ Folge uns, um auf dem Laufenden zu bleiben: • Facebook: http://fal.cn/SQfacebook • Twitter: http://fal.cn/SQtwitter • LinkedIn: http://fal.cn/SQlinkedin • Instagram: http://fal.cn/SQInstagram

Diese Woche wird die Woche der Big Tech Earnings. Heute Abend Tesla, dann Apple, Advanced Micro Devices, Microsoft, Google, Facebook, Amazon, Pinterest – die Liste ist lang. Und im Vorfeld – nach den sehr guten Zahlen von Twitter und Snap - steigen auf breiter Front die Kursziele an der Wall Street. China aber lässt es weiter krachen, und zwar im wahrsten Sinne des Wortes: Der Staat greift mit eiserner Faust durch. Das bekommen nicht nur die Aktien im Bereich der Education zu spüren, die es erneut deutlich trifft an diesem Montag. Man geht auch gegen Tencent Music vor, und das scheint erst der Anfang zu sein. Der Gegenwind bei den chinesischen Aktien, die an der Wall Street gehandelt werden, ist anhaltend groß. Abonniere den Podcast, um keine Folge zu verpassen! LINKS https://www.instagram.com/kochwallstreet/ https://www.facebook.com/markus.koch.newyork https://www.youtube.com/user/kochntv https://www.markuskoch.de/

Vor dem Wochenende standen beim Dow Jones mal wieder Rekorde auf der Tagesordnung. Doch auch S&Pund Nasdaq kletterten auf neue Bestmarken. Der kleine Crash zu Wochenbeginn war mehr als vergessen.

China extends tariff exemptions for some U.S. imports. Tencent Music posts solid first-quarter growth while its rival NetEase inks a deal with Sony Music. Hong Kong Disneyland reports its biggest-ever loss. Plus, China Mobile plans to list in Shanghai as it leaves the NYSE.

China's coal industry needs a radical overhaul to meet its carbon neutrality goal, new research says. China Huarong International is the focus of investors'concern. Tencent Music gets a new CEO. Plus, why hundreds of exporters in Yiwu face frozen bank accounts?

LSX-Talk mit WKN zum Coinbase IPO, Beyond Meat, Tencent Music, Teladoc, Microsoft im Porträt

Die Wall Street bereitet aktuell nicht viel Freude. Es ist ein Markt, der nicht so leicht zu navigieren ist. Ist es nicht das Eine, dann bremst das Andere. Die Renditen der Staatsanleihen steigen auf das höchste Niveau seit 14 Monaten. Wieder haben wir eine Ausrede für sinkende Tech-Aktien und insbesondere die Momentum-Werte werden erneut getroffen. Dafür sehen wir ein Plus bei den Aktien, die durch das Debakel bei Archegos Capital gebeutelt wurden. Sowohl ViacomCBS wie auch Tencent Music tendieren vorbörslich freundlich. In diesem börsentäglichen Podcast aus New York und direkt von der Wall Street geht es um all das, was die Börse, die Unternehmen und Wirtschaft bewegt. Dazu gehört natürlich auch die Politik und die aktuellen Ereignisse aus Washington. Worüber spricht man also an der Wall Street, wenn an der New Yorker Aktienbörse die Eröffnungsglocken läuten? Wo liegen die Chancen und wo die Risiken und warum ist das, was sich hier bei mir in den USA abspielt auch für Schweizer Anleger wichtig? Mein Name ist Markus Koch und ich begrüße Sie herzlichst und ich freue mich auf die gemeinsame Reise über die Berge und die Täler der Finanzwelt. Abonniere den Podcast, um keine Folge zu verpassen! ____ Folge uns, um auf dem Laufenden zu bleiben: • Facebook: http://fal.cn/SQfacebook • Twitter: http://fal.cn/SQtwitter • LinkedIn: http://fal.cn/SQlinkedin • Instagram: http://fal.cn/SQInstagram

Thoughts on ARCHEGOS Fall out, Tencent Music (TME) and Oversold Stocks.

Urplötzlich stürzen Tencent Music, Viacom, Discovery, GSX und RLX um 30-50% ab. Was ist passiert? Hat sich an den Unternehmen etwas geändert? Nein, die Antwort hat mit einem Hedgefonds zu tun, der bereits einmal kriminell aufgefallen ist. Höre jetzt rein, um alles wichtige zu erfahren! :) Shownotes: - Tritt jetzt kostenlos meiner WhatsApp-Gruppe bei und bringe Deine Finanzen auf das nächste Level: https://wa.me/4915225243258?text=Hey%20Marko,%20ich%20w%C3%BCrde%20gerne%20deiner%20Gruppe%20beitreten.%20:) - Hier geht es zur genannten Krypto-Wallet, die Dir 4,74% Zinsen p.a. auf Deine Bitcoins bezahlt: https://app.bitwala.com/r/NBAN-D57Q - Hier geht es zu Trade Republic und den kostenfreien Aktien-Sparplänen: https://ref.trade.re/8d1tmmbx Dir hat diese Folge gefallen? - dann abonniere gerne meinen Podcast. :) Immer dienstags und freitags lade ich neue Folgen hoch, um Dir wichtiges (Finanz)-Wissen einfach und verständlich beizubringen, dass Du in der Schule leider nicht gelernt bekommen hast! Viel Spaß beim Hören und viel (finanziellen) Erfolg, Dein Marko :)

Gier frisst Hirn, und Wertpapierkredite können auch mal in die Hose gehen. Und das sehen wir bei einem großen New Yorker Hedgefonds. Der kann kein frisches Kapital nachschießen für die laufenden Wertpapierkredite, überwiegend durch Derivate abgebildet. Bei den Banken, die diese Position halten kommt es zu Zwangsliquidierungen; betroffen sind unter anderem chinesische Aktien, die bereits letzte Woche wie Baidu oder Tencent Music erheblich unter Druck standen. Auch ViacomCBS und Discovery stehen unter Abgabedruck. Und: Das Problem im Suez-Kanal ist immer noch nicht behoben. Er ist immer noch verstopft, aber man hat bei der Befreiung des Frachtschiffs große Fortschritte gemacht und hofft, dass in Kürze bei der nächsten Flut das Schiff freigesetzt werden kann. Das würde zumindest die Problematik bei den Angebotsengpässen etwas mildern. Im Großen und Ganzen sehen wir aber immer mehr Unternehmen, die darunter leiden, dass die Lieferketten global zur Zeit ziemlich dünn sind. In diesem börsentäglichen Podcast aus New York und direkt von der Wall Street geht es um all das, was die Börse, die Unternehmen und Wirtschaft bewegt. Dazu gehört natürlich auch die Politik und die aktuellen Ereignisse aus Washington. Worüber spricht man also an der Wall Street, wenn an der New Yorker Aktienbörse die Eröffnungsglocken läuten? Wo liegen die Chancen und wo die Risiken und warum ist das, was sich hier bei mir in den USA abspielt auch für Schweizer Anleger wichtig? Mein Name ist Markus Koch und ich begrüße Sie herzlichst und ich freue mich auf die gemeinsame Reise über die Berge und die Täler der Finanzwelt. Abonniere den Podcast, um keine Folge zu verpassen! ____ Folge uns, um auf dem Laufenden zu bleiben: • Facebook: http://fal.cn/SQfacebook • Twitter: http://fal.cn/SQtwitter • LinkedIn: http://fal.cn/SQlinkedin • Instagram: http://fal.cn/SQInstagram

Die Wall Street startet schwächer in die Woche, wobei sich das Minus in Anbetracht der Nachrichtenlage in Grenzen hält. Ein New Yorker Hedgefonds gerät in Schieflage. Frisches Kapital für die dort laufenden Wertpapierkredite konnte am Freitag nicht nachgeschossen werden. Die Investmenthäuser, die diese Aktien halten, müssen liquidieren. Und dementsprechend kommt es bei Einzelwerten wie ViacomCBS oder Discovery oder Tencent Music seit vergangener Woche zu herben Kursverlusten. Außerdem: Der Suez-Kanal ist immer noch verstopft, aber man macht große Fortschritte. Mittlerweile sind über 450 Schiffe quasi im Rückstau, aber in den kommenden Tagen bei der nächsten Flut, so hofft man, dürfte das Problem behoben werden. Ob Profitrader oder Privatanleger - dieser Podcast ist für alle, die sich für Aktien, Anleihen, Gold und Rohstoffe, Investieren und Trading interessieren. Welche Aktien liegen im Trend und welchen geht gerade die Luft raus? Worauf achtet die Wall Street ganz besonders? Wo liegen die Chancen und wo die unterschwelligen Gefahren? Was bewegt die Kurse und worüber spricht man eigentlich gerade in der New Yorker Finanzmeile? Die Antworten gibt es jeden Tag bis spätestens 16 Uhr in diesem Podcast. Abonniere den Podcast, um keine Folge zu verpassen! LINKS https://www.instagram.com/kochwallstreet/ https://www.facebook.com/markus.koch.newyork https://www.youtube.com/user/kochntv https://www.markuskoch.de/

Family office Archegos Capital was forced to liquidate tens of billions of dollars in stock holdings, sending U.S. media stocks and Chinese tech stocks into selloff mode, and leaving big financial players on the hook for billions. Archegos founder and former hedge funder Bill Hwang is at the center of the Wall Street whirlwind; Joe, Becky, and Andrew track the series of falling financial dominoes that led to the ViacomCBS, Discovery, Tencent Music, and Baidu losses, from swap strategies and over-leveraged books to block trades at Goldman Sachs and Morgan Stanley. Former Principal Deputy Director of National Intelligence Sue Gordon considers the implications of the liquidation trade for the rest of the global financial system. Amazon workers in Alabama are voting on a union contract, and Insider Inc. CEO Henry Blodget discusses how the results could impact the company and other workers across the country. Plus, the cargo ship in the Suez Canal has finally been freed. Now, the world is set to assess the damage. 

In this episode, Dr. Osterholm and host Chris Dall discuss the debate regarding what lies ahead for the US, the ongoing need for global access to vaccines, and important considerations for respiratory protection and aerosol transmission. “Vaccinate With Love (Dedicated To Dr. Osterholm)” is available on Spotify, YouTube, Apple Music, Amazon Music, Tencent Music, Deezer, Tidal, and Pandora. Spotify: https://open.spotify.com/artist/2LO6MZ0w06BnfgIfoJHIe6 Website: peterlakesounds.com Instagram: @peterlakemusic 100% of streaming royalties donated to the Frontline Families Fund Read more about protecting essential workers: https://www.cidrap.umn.edu/covid-19/preparedness-and-response/protecting-essential-workers Read the letter requesting immediate action to address SARS-CoV-2 inhalation exposure: https://www.cidrap.umn.edu/feb-15-2021-letter Email us your questions: OsterholmUpdate@umn.edu Browse the podcast and CIDRAP merchandise store: https://www.mnalumnimarket.com/collections/cidrap?utm_source=website&utm_medium=website&utm_campaign=CIDRAPpodcast&utm_content=CIDRAP This podcast is available on Apple Podcasts, Spotify and Google Podcasts. Subscribe on YouTube!

Our top stories today: Robinhood removes GameStop Limits; vaccine emergency use applications; and Tencent Music choosing banks for $5B Hong Kong IPO within year. Learn more about your ad choices. Visit megaphone.fm/adchoices

Once Chinese companies rise to the top of the domestic market, another challenge emerges: publicly listing on one of the major U.S. stock exchanges. Among the more recent listings, there is Bilibili and iQIYI for video, and Lizhi and Tencent Music for audio.Ross Warner (vice president of The Piacente Group) and Elliott Zaagman (co-host of the China Tech Investor podcast) join Aladin Farré to explain the requirements of going public in the United States, the knowledge gap between Chinese companies and Western investors, and how going public can influence content creation and distribution.Middle Earth is made by China Compass Productions. If you have a China-themed cultural project, please get in touch!With thanks to Brenden Gonsalves for graphic design and Sean Calvo for music support.Recommendations: Rich Dad Poor Dad and The Intelligent Investor, self-help books on investments. The China Hustle, a 2017 documentary about how small Chinese companies were hyped up and sold by American investment banks to U.S.-based investors.The Motley Fool Podcasts, a series of podcasts about investing. Like the podcasts at SupChina? Help us out by taking this brief survey. Answers to the quiz:152 Chinese companies are listed on the major U.S. stock exchanges. Beijing Jingxi Culture and Tourism (北京京西文化旅游股份有限公司), the company that produced Wolf Warrior 2, is the company that was queried by the Shenzhen Stock Exchange after fraud allegations.

In this episode, we discuss Andbox’s branding and strategy, Blizzard partnering with ESL & Dreamhack for esports events, Vindex partneringContinue Reading

TikTok just surpassed 1.5 billion downloads across the globe, and now they have announced plans to offer a music streaming application to rival Apple Must, Spotify, Tencent Music, and Amazon. The TikTok app offers the company immense pools of song data on how pieces of content perform with certain background music. Bytedance, the parent company of TikTok, has already announced that this new music streaming app is going to pilot this year in India and across South East Asia. Shortly after this music streaming app will become available in the United States. There will be major competition for their application but TikTok/Bytedance believe that their technology focus and advanced algorithms will help them build the best platform available. 

This week, we put the spotlight on China's piracy-stricken music industry. From its origins to the rise of the game-changing Tencent Music (NYSE: TME).

My guest this week is Yoad Nevo, who has credits that include over thirty #1 singles, more than fifty Top 10 albums and over sixty Top 10 singles worldwide as a producer, mixer and mastering engineer. Among the artists he’s worked with include Sia, Bryan Adams, Pet Shop boys, Sugababies, The Dandy Warhols, Moby, Morcheeba and many more. Yoad has also been inventing and developing plug-ins for Waves since 1997, and his registered patents, his book Hit Record – An Inside Track To Music Production and his popular webinars have paved the way for other producers and engineers. During the interview we spoke about the magic number of mixes before you get learn how to do it, getting into  mastering, developing plugins for Waves, and much more. On the intro I’ll take a look at CD Baby and TuneCore doing a deal with Tencent Music, the largest streaming service in China, and take a brief look at digital patchbays.

The content-licensing practices of Tencent Music – far and away China’s biggest music download service – have struck a discordant note with the country’s antitrust regulator, which is looking into the company’s exclusive licensing arrangements amid concerns that they are locking competitors out of the action in the world’s 7th-largest music market. The investigation of Tencent Music – the first such Chinese probe targeting a local tech giant, and the first involving non-price vertical agreements – has roped in the world’s biggest music labels, Universal Music, Sony Music Entertainment and Warner Music, alongside such corporate heavyweights as Apple, Alibaba, Baidu, NetEase and Huawei. It’s more than an attempt to rein in the dominant player in the market; it’s set to be a game changer for the entire industry. MLex Asia Managing Editor David Plott sat down with Chief China Correspondent Yonnex Li to explore the issues, and where the probe goes next.

A few weeks ago, in December 2018, Tencent Music did their highly anticipated IPO on the New York Stock Exchange valuing the company to $21.3 billion. Often being described as the "Spotify of China", we're looking into what Tencent Music actually is and what they might represent for the future of music, globally.With a user base of more than 800 monthly active users and revenue of around $2 billion the detail that has impressed the most is their profit margin of 20%. Or actually even the fact that they, as a music streaming company, even are able to turn a profit.In this episode we'll go through what Tencent Music is, how they are different compared to Spotify, if they can influence the global music industry and hypothesise about why they didn't merge with Spotify, something rumoured earlier in 2018.Episode summary: What is Tencent Music and how come they are profitable?What are the differences between the music industry in China and the west?Music streaming as a part of a music ecosystem - will we see the same development outside China?Asia - the future battleground - what will happen?Guest: Jonas Leijonhufvud, journalist at DI Digital and currently writing a book about Spotify.Hosts: Eva Xiao and Tom Xiong.Production: Jacob Loven.Digitally China is a subjective but independent depiction of the tech scene in China. Audio clips used in the podcast have not been distorted nor taken out of context and are included for commentary and educational purposes and thus shall be considered “Fair Use”. Digitally China is powered by RADII (www.radiichina.com), an independent media platform exploring China from all angles.

Together with Jonas Leijonhufvud and Sven Carlsson, the authors of a new book telling the inside story about Spotify and the fight for global dominance in music streaming we are discussing if ByteDance actually have a shot at beating the giants.ByteDance, the company behind the huge International success TikTok, or Douyin as its called in China is really on the offense. Fueled by the position as the 3rd most downloaded app in the world 2018 and a valuation of 75 billion dollars, ByteDance have recently both announced plans to enter messaging to directly compete with Tencent and Facebook as well as launching a smartphone. And now, reported first by Bloomberg ByteDance seem to have far advanced plans on getting into music streaming to compete with Spotify, Tencent Music and Apple Music. Already positioned among hundreds of millions of teens around the world with a short video and music app - this actually doesn't seem that crazy. In this episode of Digitally China we are discussing:TikTok's current position on the marketThe challenges of monetizing through music streaming, learnt from Spotify and Apple MusicHow music streaming companies work with record labels and how that would impact TikTok's ambitionsThe validity of TikTok's presumed music streaming service and how their position among teenagers around the world could support that Host: Tom XiongProducer: Jacob LovénGuests: Jonas Leijonhufvud and Sven Carlsson, reporters at Dagens Industri and authors of the book Spotify UntoldDigitally China is a subjective but independent depiction of the tech scene in China. Audio clips used in the podcast have not been distorted nor taken out of context and are included for commentary and educational purposes and thus shall be considered “Fair Use”. Digitally China is powered by RADII (www.radiichina.com), an independent media platform exploring China from all angles.

Together with Jonas Leijonhufvud and Sven Carlsson, the authors of a new book telling the inside story about Spotify and the fight for global dominance in music streaming we are discussing if ByteDance actually have a shot at beating the giants.ByteDance, the company behind the huge International success TikTok, or Douyin as its called in China is really on the offense. Fueled by the position as the 3rd most downloaded app in the world 2018 and a valuation of 75 billion dollars, ByteDance have recently both announced plans to enter messaging to directly compete with Tencent and Facebook as well as launching a smartphone. And now, reported first by Bloomberg ByteDance seem to have far advanced plans on getting into music streaming to compete with Spotify, Tencent Music and Apple Music. Already positioned among hundreds of millions of teens around the world with a short video and music app - this actually doesn’t seem that crazy. In this episode of Digitally China we are discussing:TikTok’s current position on the marketThe challenges of monetizing through music streaming, learnt from Spotify and Apple MusicHow music streaming companies work with record labels and how that would impact TikTok’s ambitionsThe validity of TikTok’s presumed music streaming service and how their position among teenagers around the world could support that Host: Tom XiongProducer: Jacob LovénGuests: Jonas Leijonhufvud and Sven Carlsson, reporters at Dagens Industri and authors of the book Spotify UntoldDigitally China is a subjective but independent depiction of the tech scene in China. Audio clips used in the podcast have not been distorted nor taken out of context and are included for commentary and educational purposes and thus shall be considered “Fair Use”. Digitally China is powered by RADII (www.radiichina.com), an independent media platform exploring China from all angles. See acast.com/privacy for privacy and opt-out information.

On this episode we discuss Tencent Music, the "Spotify of China." We talk about their earnings, valuation, and the future potential for the stock. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/chit-chat-money/support

Under December 2018 gjorde Tencent Music sin sedan länge planerade börsnotering i New York på en värdering på 21,8 miljarder dollar. Ofta beskrivet som "Kinas Spotify", i detta avsnitt av serien “Digitally China” gräver vi i vad Tencent Music egentligen är och hur det skiljer sig från det Svenska musikundret.Medverkande: Tom Xiong och Eva Xiao.Gäst: Jonas Leijonhufvud, journalist på DI Digital och författare till en kommande bok om Spotify.Musik: Licens Epidemic Sound. Blue Dot Sessions.Producent: Jacob LovenHar du funderingar eller tips på ämnen som vi ska ta upp? Kontakta oss i sociala medier eller på digitaladraken.com. Den Digitala Draken är en subjektiv men oberoende skildring av utvecklingen av digitala tjänster i Kina och dess aktörer. I produktionen används ljudklipp från exempelvis nyhetssändningar. Dessa har ej förvrängts ur kontext och innehar relevans för skildringen samt skall anses användas under "fair use”. See acast.com/privacy for privacy and opt-out information.

Tencent Music, China's answer to Spotify, filed for U.S. IPO with its soaring valuation at approximately $20 billion in 2018. What is happening in China music and entertainment industry? Today we have Kenny Bloom who has 40 years experience in the global entertainment media space as the “Zero-man” for Warner in China to walk us through the history of China music industry from the 1980s until now and share his observations from every angle of the market. Once controlling 85% of the international music market in China and producing the #1 Chinese rock star Cuijian, Kenny is telling us the next big opportunities to succeed in this competitive market. “If you think you can come to China and become a concert promoter, don't come; if you want to start a record label, don't come; but if you get innovative technology, this is a really great place to use as a launchpad to test.” Show notes: [2:53] Introduction of Kenny Bloom [4:42] Reception and Censorship [7:12] What were the Unique Opportunities that Kenny Saw? [11:22] Having a Simple Business Model that Actually Works [15:25] Evolution and Valuation of Baidu and other Big Boys [21:05] Is there Room for Creativity and Ideas in Today's Music Market? [24:08] You Just Don't Make Money off the Content [28:06] Getting Visibility in a Massive Chinese Market [29:14] Consumer is the Biggest Winner [31:40] What are the Opportunities in this Industry Now? [34:07] Chinese Bands and Music Outside of China Many thanks to our host Ryan Shuken and Oscar Ramos, guest Kenny Bloom, editor David and Geep, producer Eva Shi, organizer Chinaccelerator and sponsor People Squared. Be sure to check out our website www.chinaccelerator.com If you like us, please give us a 5-star review and share with your friends! Follow us on Linkedin: www.linkedin.com/company/the-china-startup-pulse/ Email us: team@chinastartuppulse.com

Hypebot article "10 Music Industry Predictions For 2019" by Bobby Owsinski of Music 3.0. Predictions can be a tricky thing, but if we look at the trends in the music business over the last year we can see where things might be going. Here are 5 predictions for how the industry will fare in 2019. 1. Apple Music Nearly Catches Spotify. Spotify is still the king of the hill when it comes to streaming with 83 million paid subscribers, but Apple Music is coming on strong at 57 million at years end. Apple Music's growth was significant in 2018, so look for the gap between the two streaming powerhouses to close even more in the coming year. 2. Tencent Music Makes Its Move. Now that Tencent Music had its more or less timid yet successful IPO, look for the company to set its eyes on acquiring more if not all of Spotify. Of course, this only happens if the market rebounds and tech stocks (especially music related ones) again become investor favorites. If not, look for an acquisition down the road. 3. Smart Speaker Growth Is Kind To Amazon Music. Love them or hate them, smart speakers are here to stay and that market will grow even more in 2019. The biggest beneficiary of that has been Amazon Music, and the trend helps it even more, especially right after a holiday with big Echo sales and a boost in Prime memberships. 4. The Charts Mean Less And Less. Billboard has ruled the music world for more than 50 years and its charts have been the bible for artists and labels everywhere. That ceases in 2019, as the charts become more irrelevant and playlists (especially from the major streaming services) gain more influence. 5. Major Labels Lose Their Mojo. Once the dream of every artist, today's artist is more likely to shun a major to go it independently, since so many of the benefits of a major can be had without actually signing to one. Indie and boutique labels continue to grow both in numbers and revenue as artists thrive in a more DIY world. ---- Want more insight? Check out Outerloop Coaching and kick-start your Music Career: outerloopcoaching.com Design and launch your band's website in minutes. Use code MENTAL for 15% off your first year of website hosting at Bandzoogle.com. Rockabilia is your One Stop Shop for all band merch with the largest selection of officially licensed music merchandise in the world! Use PCJABBERJAW for 10% off www.rockabilia.com Email any questions or comments for the podcast to askblasko@gmail.com Join the ManageMental Group on Facebook here! Follow Blasko on Twitter/IG: @blasko1313 Follow Mike Mowery on Twitter/IG: @mikeoloop Check out Blasko's Spotify Playlist here volumeforever.com ManageMental is part of the Jabberjaw Media Podcast Network. www.jabberjawmedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

A few weeks ago, in December 2018, Tencent Music did their highly anticipated IPO on the New York Stock Exchange valuing the company to $21.3 billion. Often being described as the "Spotify of China", we're looking into what Tencent Music actually is and what they might represent for the future of music, globally.With a user base of more than 800 monthly active users and revenue of around $2 billion the detail that has impressed the most is their profit margin of 20%. Or actually even the fact that they, as a music streaming company, even are able to turn a profit.In this episode we'll go through what Tencent Music is, how they are different compared to Spotify, if they can influence the global music industry and hypothesise about why they didn't merge with Spotify, something rumoured earlier in 2018.Episode summary: What is Tencent Music and how come they are profitable?What are the differences between the music industry in China and the west?Music streaming as a part of a music ecosystem - will we see the same development outside China?Asia - the future battleground - what will happen?Guest: Jonas Leijonhufvud, journalist at DI Digital and currently writing a book about Spotify.Hosts: Eva Xiao and Tom Xiong.Production: Jacob Loven.Digitally China is a subjective but independent depiction of the tech scene in China. Audio clips used in the podcast have not been distorted nor taken out of context and are included for commentary and educational purposes and thus shall be considered “Fair Use”. Digitally China is powered by RADII (www.radiichina.com), an independent media platform exploring China from all angles. See acast.com/privacy for privacy and opt-out information.

In episode 33 of TechBuzz China, co-hosts Ying-Ying Lu and Rui Ma talk about Tencent Music (TME), which finally completed its $1.2 billion IPO after a two-month delay due to market volatility. The company rose 9 percent on its first day, but has traded below the initial offering price ever since. This episode covers the business model of TME, its market potential, and our co-hosts' thoughts on its future outlook. Though often compared to Spotify, to what extent are these two companies truly similar? Rui and Ying-Ying begin today's story by reviewing Tencent Music's corporate history. The entity is comprised of four apps: QQ Music, Kugou Music, Kuwo Music, and WeSing, which today account for a combined 70 percent of China's music market. However, once upon a time these were disparate products that sometimes competed; in fact, they only came together together through an entity known as China Music Corporation (CMC), which was formed in 2012 by Xie Guomin. CMC acquired Kuwo in 2013 and Kugou a few months later; Tencent turned its minority stake in the entity into a majority position when it injected the QQ Music and WeSing assets for over 60 percent ownership at a valuation of $2.7 billion. At this point, the company was renamed to Tencent Music Entertainment. From here, Rui and Ying-Ying contrast the strategies of China- and US-based music player apps. They delve into the reasons for these divergent paths, including China's unique business environment, its domestic user behavior and cash-giving habits, the impact of new categories such as mobile livestreaming… and even Chinese people's deep love for karaoke. Notably, the legally-trained and opportunistic Xie Guomin was first spurred to found CMC to capitalize on the government's changing policies around copyright and intellectual property. Listen to find out: How has this “race to own copyrights” affected the industry and its major players? How do Alibaba and Baidu fit into the picture-- or not? Why is it that paying for music is a behavior TME still needs to cultivate in its users? What does all of this mean in today's competitive landscape, and what does betting for or against TME really entail? As always, you can find these stories and more at pandaily.com. Let us know what you think of the show by leaving us an iTunes review, liking our Facebook page, and tweeting at us at @techbuzzchina to win some swag! Finally, we would like to welcome our new listeners over at our partner, dealstreetasia.com. Our co-hosts will be on a two-week break for the holidays but we look forward to releasing a new episode the second week of January. Happy Holidays!!

In episode 33 of TechBuzz China, co-hosts Ying-Ying Lu and Rui Ma talk about Tencent Music (TME), which finally completed its $1.2 billion IPO after a two-month delay due to market volatility. The company rose 9 percent on its first day, but has traded below the initial offering price ever since. This episode covers the business model of TME, its market potential, and our co-hosts’ thoughts on its future outlook. Though often compared to Spotify, to what extent are these two companies truly similar? Rui and Ying-Ying begin today’s story by reviewing Tencent Music’s corporate history. The entity is comprised of four apps: QQ Music, Kugou Music, Kuwo Music, and WeSing, which today account for a combined 70 percent of China’s music market. However, once upon a time these were disparate products that sometimes competed; in fact, they only came together together through an entity known as China Music Corporation (CMC), which was formed in 2012 by Xie Guomin. CMC acquired Kuw...

In episode 33 of TechBuzz China, co-hosts Ying-Ying Lu and Rui Ma talk about Tencent Music (TME), which finally completed its $1.2 billion IPO after a two-month delay due to market volatility. The company rose 9 percent on its first day, but has traded below the initial offering price ever since. This episode covers the business model of TME, its market potential, and our co-hosts’ thoughts on its future outlook. Though often compared with Spotify, to what extent are these two companies truly similar? Rui and Ying-Ying begin today’s story by reviewing Tencent Music’s corporate history. The entity comprises four apps: QQ Music, Kugou Music, Kuwo Music, and WeSing, which today account for a combined 70 percent of China’s music market. However, once upon a time, these were disparate products that sometimes competed; in fact, they only came together through an entity known as China Music Corporation (CMC), which was formed in 2012 by Xie Guomin. CMC acquired Kuwo in 2013 and Kugou a few months later; Tencent turned its minority stake in the entity into a majority position when it injected the QQ Music and WeSing assets for over 60 percent ownership at a valuation of $2.7 billion. At this point, the company was renamed Tencent Music Entertainment. From here, Rui and Ying-Ying contrast the strategies of China- and U.S.-based music player apps. They delve into the reasons for these divergent paths, including China’s unique business environment, its domestic user behavior and cash-giving habits, the impact of new categories such as mobile live streaming, and even Chinese people’s deep love for karaoke. Notably, the legally trained and opportunistic Xie Guomin was first spurred to found CMC to capitalize on the government’s changing policies around copyright and intellectual property. Listen to find out: How has this “race to own copyrights” affected the industry and its major players? How do Alibaba and Baidu fit into the picture — or not? Why is it that paying for music is a behavior TME still needs to cultivate in its users? What does all of this mean in today’s competitive landscape, and what does betting for or against TME really entail? As always, you can find these stories and more at pandaily.com. Let us know what you think of the show by leaving us an iTunes review, liking our Facebook page, and tweeting at us at @techbuzzchina to win some swag! Finally, we would like to welcome our new listeners over at our partner, dealstreetasia.com. Our co-hosts will be on a two-week break for the holidays, but we look forward to releasing a new episode in the second week of January. Happy Holidays!!

This week, John and Matt talk with Shai Oster, Asia bureau chief for The Information, about the rash of Chinese IPOs in a down market, looking at Tencent Music, Xiaomi, Pinduoduo, Meituan Dianping. We also talk about the possibilities for Bytedance and Ant Financial IPOs in 2019. Links China Tech Talk 49: The Xiaomi IPO with The Information’s Shai Oster What China’s history of overseas tech IPOs says about the current wave TechNode IPO coverage Sign up for TechNode newsletters Subscribe to The Information Guest Shai Oster - The Information author page, @beijingscribe  Hosts John Artman, @knowsnothing, TechNode Matthew Brennan, @mbrennanchina ChinaChannel Podcast information iTunes RSS feed China Tech Talk.com Music: "Theme from Penguins on Parade" by Lee Rosevere, Music for Podcasts 3  

Noticias de la semana: Tencent Music, XPO Short (Spruce Capital), Google en el congreso. Regulación en empresas tecnológicas. Ventajas y desventajas del tamaño en las empresas.

Noticias de la semana: Tencent Music, XPO Short (Spruce Capital), Google en el congreso. Regulación en empresas tecnológicas. Ventajas y desventajas del tamaño en las empresas.

In today’s global headlines…. British Prime Minister Theresa May saw off the long threatened challenge to her leadership by hard line Brexiteers within her own party, prevailing with 63% of the vote. American news media is giving blanket coverage to the jailing, for three years, of president Donald Trump’s confidante and former lawyer Michael Cohen. In South African related news, the shares of Tencent Music had a positive debut on the New York Stock Exchange yesterday, the price closing at $14 a share, an 8% uplift for pre-listing buyers. Also, South Africa features prominently in this morning’s influentual Financial Times of London which carries a lengthy article focusing on “explosive claims emerging about Guptas’ influence over the ANC and government.”

The market gets a boost from a Wall Street Journal report that China is working to increase access for overseas companies. Tencent Music rises in its Wall Street debut. And Dave & Buster’s declines on earnings. Analysts Andy Cross and Ron Gross discuss these stories and talk about Verizon’s broken Oath. Thanks to Slack for supporting The Motley Fool.  Slack: Where work happens. Go to Slack.com to learn more.    

In this episode of the China Tech Investor Podcast powered by TechNode, hosts Elliott Zaagman and James Hull discuss Huawei, the SEC, the Tencent Music arbitration, Alibaba Pictures, Video Games Ethics committee, Baidu & iQiyi’s recent fund-raising activity, and possibility of mainland investors being able to buy Xiaomi’s shares through the HK stock connect.

Our weekend preview of upcoming IPOs, earnings reports, conference presentations, investor days, IPO lockup expirations, FDA decisions, Barron's mentions, and other key events that could impact stocks. Learn more about your ad choices. Visit megaphone.fm/adchoices

De Chinese muziekdienst Tencent Music heeft meer dan 800 miljoen gebruikers, zo’n beetje vijf keer zoveel als Spotify. Slechts 23 miljoen van hen betalen voor de dienst. En toch maakt de social music dienst wel winst, terwijl bij Spotify het geld nog met bakken naar buiten stroomt. Nu willen de Chinezen naar de beurs... in Amerika. Komt ook deze Chinese internet gigant langzaam onze kant op? Verder: Rotterdam heeft een nieuwe popzaal dankzij een verbouwing in de Maassilo. Maar niet dankzij de Gemeente Rotterdam. En: Amsterdam Dance Event wordt zelfstandig van Buma Cultuur. Wat betekent dat voor hun subsidie? En waarom is er überhaupt subsidie nodig voor een festival waar 400.000 kaartjes voor verkocht worden?

Innovent Biologics is headed to be the biggest bio-tech listing in Hong Kong this year, despite coming at a time when other businesses - including TenCent Music - are delaying their listings.  Michael Switow discusses with Kaiyuan Capital’s Brock Silvers.

In this episode of China Money Podcast, listen to all the news headlines in the China venture and tech sector for the week of October 8 to 12, 2018, with Eudora Wang who is sitting in for Nina Xiang. Topics covered include Chinese viggie-selling app Meicai raises US$600 million, Chinese Airbnb copycat Xiaozhu.com raises $300 million, Tencent Music's U.S. IPO delay, and Chinese telecom-maker Huawei launching self-developed AI chips. Be sure to subscribe to China Money Podcast for free in the iTunes store, or subscribe to our weekly newsletter.

De Chinese Spotify gaat naar de beurs! In tegenstelling tot de bekende streaminggigant heeft Tencent Music wel een volledig ander businessmodel. Iets met karaoke en rode envelopjes. Daarnaast is VR ook de maks, al moeten we wel nog even uitzoeken waarvoor we het zoal kunnen gebruiken. Welkom in Computer Club, een podcast door Frederik 'Freddy' De Bosschere & Thomas 'Smollie' Smolders! Met dank aan Sebastiaan Van den Branden voor de technische hulp. Wekelijks bespreken we de actualiteit op vlak van technologie en gaan we op zoek naar interessante feiten en innovaties. Af en toe nodigen we zelfs een gast uit. Er zijn ook jingles.

The new #toyota #supra is officially coming, Mattress Firm files for #bankruptcy, Johnnie Walker creates White Walker #whiskey, Tencent Music files IPO, And more #business #tech #gaming #news --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/dollarsandcents/support

In today's Minutes: FDA raids JUUL HQ seizing thousands of marketing documents, Toys R Us cancels bankruptcy auction and plans comeback, and Tencent Music is planning a $30B US IPO. Plus we're taking and answering your career questions. --- Support this podcast: https://anchor.fm/watercoolesthq/support

By this time last year, Africa's tech and innovation media community had started to go into hibernation for the Festive Season. But this year’s different… Bitcoin is doing the thing, America’s Federal Communications Commission (FCC) is poised to put net neutrality out of its misery, Uber is bracing for a severe regulatory backlash after trying to conceal a 2016 data breach affecting 57 million users, and complex corruption allegations continue to dog the JSE-listed IT service management giant, EOH, as well as Naspers (who now indirectly own a piece of Spotify thanks to the streaming service’s recent mini-merger with Tencent Music). The tail-end of Q4 2018 has also featured some encouraging local tech ecosystem developments— like several promising African startups landing much needed early-stage funding and key ecosystem stakeholders (founders, investors, policy makers and innovation hub runners) participating in vigorous public debates about maximising the creation and exchange of solid business value within Africa’s emerging tech industry. Joining Andile Masuku and Musa Kalenga on this African Tech Roundup podcast (the last full show of 2017) to chat through some of the more interesting digital, tech and innovation highlights to emerge during the past couple of weeks is Bain consultant-turned-venture capitalist, Rushil Vallabh of Secha Capital. Rushil also explains how the founding team at Secha Capital arrived at their investment thesis, why he believes their “hybrid” model gives them the edge, and factors in on the pros and cons of some of the angel investment and VC approaches we’ve discussed on the show recently. We would just like to thank you - the listener - for your part in making the African Tech Roundup community rock in 2017. Our next full episode drops in mid-Jan 2018, but don’t worry, we’ve got your back this Festive Season because every week this holiday, we’ll be publishing previously unreleased Quick (Tech) Chats podcast episodes taped at Afrobytes Tech Conference 2017 and the African Angel Investor Summit 2017. So, go ahead and turn on your notification settings wherever you listen to us, or simply check back into AfricanTechRoundup.com for all the freshest content drops. Happy Holidays! Music Credits: Music by Kevin MacLeod (incompetech.com) Music licensed under Creative Commons: By Attribution 3.0