technology
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Officials with the city of San Francisco have stated that the new giant “X” sign of Elon Musk’s rebranding of Twitter was done without a permit.
On Friday (July 28th), the tech entrepreneur announced a rebrand of the social media messaging platform Twitter to X, removing the bird logo many have come to associate with the company from the company’s headquarters on Market Street, with the Twitter logo replaced with a huge “X” that lights up at high intensity as night falls. But a complaint by city officials charges that the billionaire didn’t have a permit for the change and barred entry to inspectors.
“NOV issued for work without permit. Site visited by MH and spoke with Twitter (sic) representatives and Building maintenance engineer representatives. I explained BID’s complaint investigation process and requested access to roof area. Twitter (sic) representative declined to provide access but did explain that the structure is a temporary lighted sign for an event. I explained to all representatives that the NOV requires the structure to be removed with a building permit or legalize,” the complaint read.
Another detail in the complaint revealed that officials were denied access to the roof in another attempt to review the new sign on Saturday (July 29th). Patrick Hannah, a spokesperson for San Francisco’s Department of Building Inspection said in an interview that “to ensure consistency with the historic nature of the building and to ensure the new additions are safely attached to the sign,” the city requires a permit. A Notice of Violation could mean that the company could incur permit fees in addition to those incurred for an investigation into why the situation occurred.
Residents have complained about the new sign’s brightness at night being a nuisance. KQED journalist Christopher Beale captured the sign’s strobe-light effect in a video he posted on the platform. “I feel like if I was a person that was maybe epileptic or had a sensitivity to bright lights and strobes it would be a major problem to live here. For now, it’s just an irritant,” he said to reporters. He did note that the X did go dark on Sunday night (July 30th).
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In the wake of another chaotic situation caused by Elon Musk, Black Twitter users are making a move to the new Spill social media platform in droves.
On Saturday (July 1st), Twitter users were greeted with an error message that either said “Rate limit exceeded” or “Cannot retrieve tweets.” Musk stated in a tweet that users who were unverified would only be able to read 600 posts a day, but Twitter Blue subscribers would be able to view 6,000 a day. For Black Twitter, that was the last straw in what many felt was the Tesla and Space X CEO’s continual disrespect, prompting many to sign up for Spill.
Spill is a social media platform with the purpose of creating a safe space for diverse communities with a distinct focus on Black women and LGBTQ+ communities. The app had recently launched its beta version on June 19th. It was created by Alphonzo “Phonz” Terrell and DeVaris Brown, former Black Twitter employees who were let go in the wake of Musk’s $44 billion purchase of the social media platform. “Our thesis was if we could build a platform from the ground up that caters to these groups, these culture drivers, and then solve the core problems that they’re facing, that our community is facing more specifically, that would make for a better experience for everyone,” Terrell said in a recent interview. The exodus of Black Twitter users, including numerous famous figures such as Keke Palmer and Desus Nice has propelled Spill to be number one in Apple’s App Store as of Monday (July 3).
Spill is styled as a microblogging app with a visual-first approach, with users being able to select from four colorways for their home page. Instead of Twitter’s 140 characters per tweet, each post or “spill” is set at 90 characters but users can get creative with images and GIFs, and even short videos in their posts. Spill is currently invite-only for new users, and is only available on iOS devices, which has spurred some complaints from those using Android devices. But many who’ve made their way to the app are praising it for its diversity and fun factor, as well as the dedication to keeping it a safe space for everyone. Hashtags such as #SpillMigration and #Spillionaires were in wide use on the app, with many more on Twitter making public requests for invite codes.
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“We are living in an electronic age and electronics is changing the world.” This bold-for-the-time declaration, from the June 24, 1967, issue of Billboard, came from an unlikely source: Limeliters banjo player Alex Hassilev. For an acoustic musician, he was savvy about electronics: Over the years since, we’ve gone from classical compositions played on synths to music created by artificial intelligence. What’s next? Just ask ChatGPT!
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Come On, Moog!
A year after the Summer of Love, Billboard hailed the age of computer love. The Oct. 12, 1968, issue predicted that “computers would someday allow operators to obtain overnight, or at least weekly, reports of record popularity on jukeboxes.” A month later, Billboard reported that “[a]n electronic Bach album is being issued by Columbia Masterworks this month,” which “employs a specially adapted Moog synthesizer as its musical instrument.” That recording, Wendy Carlos’ groundbreaking Switched-On Bach, became “only the second classical record in history to sell more than 1 million units,” according to the June 8, 1974, issue.
Speaking on the Moog in the Dec. 20, 1969, issue, jazz drummer Chico Hamilton opined, “it’s up to the listener to decide if it’s music or not,” but quipped, “some people turn electricity off.”
Synths In the Key of Life
While the Sept. 30, 1972, Billboard reported that skeptics saw synthesizers as merely a “cheaper alternative to a real string section,” the Sept. 9, 1973, issue proclaimed that keyboards were now the “hot instrument” thanks to synthesizers becoming an “integral part” of Yes and Emerson, Lake & Palmer. By the late ’70s, Giorgio Moroder taught the Moog to move, and the July 30, 1977, issue praised the “incessant, spacey, machine-like beat” on Donna Summer’s “I Feel Love.”
One-Way Ticket
Synths were inescapable on the Billboard Hot 100 by the time of the March 24, 1984, issue, and Billboard ran a prescient headline with a phrase from Steve Jobs: “Computers Bound to Become ‘The Second Telephone.’ ” Another piece in the same issue covered the rise of “computerized [ticket-selling] outlets like Ticketron, Bass, Select-A-Seat, Ticketmaster and others,” noting that “the logistics of selling tickets becomes smoother; the service charge, however, is divvied up between more parties.”
Prog Rock and Prog-ROM
After Peter Gabriel released the musical computer game XPLORA1, the Jan. 8, 1994, Billboard hailed him as “the first major pop artist to actively participate in the creation of an interactive CD-ROM title integrating substantial amounts of music, video, still photos, text and ‘virtual touring.’ ” Not everyone was ready to get with the program, though. “We don’t see the point of participating in something if ‘the medium is the message,’ ” said The Cure’s Robert Smith about E-CDs in the Aug. 17, 1996, issue. “It’s an interesting idea, but is that art in itself?”
AI Think, Therefore AI Jam
A feature on digital recording in the Oct. 9, 1993, issue addressed fears of “sterile” mixes and “computer control supplanting the human touch.” “There is nothing spookier than facing something totally unfamiliar,” said producer John Hampton. “[But] you can let technology do so much of the work for you that you can sit back and look at the big picture.” A Berklee dean agreed: “What computers in general have done, is allowed us to take our minds off the mundane and concentrate on the creative.”
The same concern came back in a piece in the March 18, 2017, Billboard, which pointed out that “for songwriters, the subject of artificial intelligence is an especially fraught one.” The beat goes on, in other words — even if technology helps create it.
A version of this story originally appeared in the April 22, 2023, issue of Billboard.
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The founder of the popular mobile app Cash App, Bob Lee, was murdered in a fatal stabbing on a street in San Francisco.
According to reports, law enforcement responded to an incident in the downtown Rincon Hill neighborhood at 2:35 a.m. early Wednesday morning (April 5). The victim, later identified as Bob Lee, was taken to a hospital where he succumbed to his injuries. The cryptocurrency startup, MobileCoin, where Lee served as the chief product officer, announced his death in a tweet later that day.
His father, Rick Lee, later posted an emotional tribute through his Facebook account. “Life has been an adventure with two bachelors living together, and I’m so happy that we were able to become so close these last years. Bob would give you the shirt off his back,” the post read. “He would never look down on anyone and adhered to a strict no-judgment philosophy. Bobby worked harder than anyone and was the smartest person I have ever known. He will be missed by all those that knew him.” The two had recently relocated to Miami from outside of San Francisco last October.
According to his LinkedIn profile, the 43-year-old was responsible for the creation of the popular financial app as well as serving as the chief technical officer of Square (now Block). Lee also lent his expertise to the development of Android software and invested in SpaceX, Clubhouse, Tile and other tech companies. Jack Dorsey, the former Twitter CEO who is now Block’s CEO, reacted to the news on social media as “Heartbreaking,” before continuing: “Bob was instrumental to Square and Cash App.”
Lee apparently was in town for a leadership summit held by MobileCoin and had met up with longtime friends on the night of his death. Local reporting details that surveillance cameras captured the moments after he was attacked. San Francisco Police Chief Bill Scott sent out his condolences via Twitter and also stated that police couldn’t comment on details of the crime as investigations had just begun.
The incident has added to the growing concerns raised about the rate of crime in San Francisco as the city is moving out of the COVID-19 pandemic. Elon Musk, the billionaire owner of Twitter, wrote on the platform in regard to Lee’s death that “Violent crime in SF is horrific and even if attackers are caught, they are often released immediately.” Preliminary data released by the police show an uptick in homicides this year as compared to 2021.
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Spotify has found itself under high scrutiny over reports that diversity funds created after Joe Rogan’s controversial deal have yet to be doled out.
According to reports, the Creator Equity Fund which was created by Spotify Technology SA in the wake of staff being upset over the expensive deal Joe Rogan signed for his podcast has been barely touched. The fund, which contains $100 million, was meant “for the licensing, development, and marketing of music (artists and songwriters) and audio content from historically marginalized groups.” The report estimates that based on data from Parcast, a podcasting network at the company, “less than 10% of its funding” has been spent towards that goal.
Sources for the report said that multiple factors are to blame and “has suffered from shifting priorities,” with the project behind schedule in hiring an eight-person committee to oversee the spending and not even completing their budget for 2023 among them. The $100 million was slated to be spent over a period of three years, but Spotify did not have a set infrastructure in place to vet and allocate money from the fund.
The fund was announced by Spotify’s CEO Daniel Ek in February 2022 after employees at the streaming giant expressed their displeasure over Rogan signing a distribution deal for his controversial The Joe Rogan Experience podcast. The deal was first believed to be worth $100 million, but it was later reported to be worth over $200 million. In addition, Ek refused to nullify the deal even after the removal of 70 previous episodes of the podcast where the N-word and other racially charged terms were used. The backlash from employees was initially sparked by artists offended by Rogan’s behavior which included Neil Young, who objected to his spreading of disinformation about COVID-19.
A representative for Spotify responded to the reports via email, refusing to comment on the details of the fund but saying it has spent more than the 10% percent that’s been reported. “The Spotify Creator Equity Fund is dedicated to a variety of initiatives that help elevate and support an inclusive and diverse portfolio of artists and creators on the platform,” they wrote. “We are able to empower and uplift underrepresented voices around the world.” They also cited projects they’ve supported such as the LGBTQ music promotion program Glow, marketing campaigns for Black artists like Kaytranada, and an expanded relationship with HBCUs such as Spelman College in Atlanta, Georgia.
Baton
Baton is a collaboration platform that solves chain of custody for work in progress material, ensuring artists are properly credited and compensated for their work. Think of them a bit like GitHub for music.
Since launching a private beta this past fall, Baton has helped connect hundreds of artists with multiple Grammy-winners and has protected the IP of thousands of songs.
The team is a mix of creative technologists from NYU ITP, an “art school for engineers or an engineering school for artists” and industry veterans that have spent over a decade working with many of the largest artists in the world.
Gabe Warshaw, CEO & Founder, Baton said, “The vast majority of music that gets made never gets released. So much of it is incredible, and it’s never been easier to create without a professional studio. At the same time, remote collaboration has left creators increasingly vulnerable to stolen IP. Baton is building an ecosystem that helps musicians find their people. It allows material to be worked on and shared safely with anyone in the world, so creators know that wherever their work ends up, they’ll get credited and compensated in the way they should.”
BEEPR
BEEPR allows fans to opt-in to push notifications about music from their favorite artists, creating ephemeral moments between fans with shared interests. Launched in Summer 2020, BEEPR has garnered 300,000 registered users and 100,000 monthly active users with $0 spent on marketing. BEEPR has helped DSP’s gain over 70 million streams this year. BEEPR’s goal is to create moments in music powered by push notifications.
Jake Zinn, CEO & Founder, BEEPR stated, “Technology has made the music listening experience more convenient. While the streaming services have provided fans what they want to hear, BEEPR provides when they want to hear it.”
Confetti
Confetti is a content creation and live-streaming app that enables couples to get the most out of their weddings by empowering in-person and virtual guests to create fun and memorable content through custom prompts. Say goodbye to stale photos, videos, and your aunt going live on FaceBook, and say hello to beautiful and unforgettable memories that will last a lifetime, whether you’re seated at Table 8 or 3,000 miles away. With Confetti, you have one less thing to worry about on your big day.
Andrew Vuu, CEO, Confetti, said: “Today, wedding guests are creating amazing content and sharing media, which has generated hundreds of billions of impressions on social platforms. However, the problem is that the only way couples can access this great content is through clunky shared albums or by harassing people via text. Currently, we are revolutionizing the wedding industry by providing social media communities with front-row access to their favorite creators’ biggest day through our platform. We are on track to reach 100 million fans across 10 different countries over the next year and have organically generated over 15 million social media views on our path to transform the wedding experience. We are thrilled to extend the power of Confetti to couples everywhere this summer.”
Five Mics
Five Mics is a digital hip-hop trading card game (think Yugioh or Hearthstone, but with rappers and DJs, not elves and dragons). Players construct their decks based around different card styles and can choose to play either casually with friends or competitively in tournaments. With each win, players can also earn new cards, which they own and can collect, trade, or gift to other players.
The collectible card game market is expected to reach $32B by 2027, and hip-hop (the #1 streaming genre in the US accounting for $2.7B in 2021) is arguably the most popular music genre in the world, influencing Latin Trap, Afrobeats, K-Hip-Hop, and more around the globe. Five Mics is determined to bring the two together in an authentic way never before seen, made by the culture, for the culture.
Ace Patterson, CEO, Five Mics, added: “Go on Twitch right now, and more likely than not you’ll find gamers streaming while playing hip-hop music. That’s the dope thing about hip-hop: it’s truly universal. It’s not just for ‘some’ people – it’s for ALL people. And as someone that’s both a hip-hop artist that loves playing trading card games, I truly believe that combining both worlds will impact culture in a seismic way.”
Haven
Haven’s network of event & lifestyle brands host sound-based experiences in stunning outdoor & unconventional indoor spaces. It could be a harpist in a canyon at sunset for Floating or a pioneering composer performing in a historic cathedral for Ambient Church, over 16,000 people gathered with us (in person!) this past year in NYC, LA, Chicago, Portland and Seattle. Other investors include 6lack, Oleg Stavitsky (Co-Founder / CEO, Endel), and Anthony Batt (Founder, SpinMedia).
Brian Schopfel, CEO, Haven, said: “Tech, entertainment and wellness industries have continued to become more algorithmic, reward based, and impersonal; only fueling burnout long term. Haven encourages being vs. doing, inclusion vs. achievement, and IRL vs. URL, and we’re thrilled to be a part of the Techstars Music program to continue to learn, grow and share our experiences with as many people as possible.”
Highly Liquid
Highly Liquid is a streetwear brand born on the internet: a fashion house that combines both digital and physical worlds to create limited-edition drops of apparel, software, and CPG. Our products are designed to spark meaningful conversations around sexuality, gender, and identity, and their role within the financial landscape.
Izzy Howell, CEO, Highly Liquid, said: “Selling panties on the internet doesn’t really sound like the start of a revolution, but by creating NFTs that can be redeemed for IRL panties that say ‘highly liquid’ on the crotch, we are effectively starting a new wave in streetwear – one that puts hyper-femininity at the forefront of culture.”
HomeRoom
HomeRoom is a software platform that unlocks the powerful growth potential of online communities. In the digital age, it’s become increasingly difficult for businesses, creators, and musicians to cut through the noise. HomeRoom provides a suite of tools to enable community leaders to save time with their daily tasks, analytics to measure success, and plugins for hosting memorable community events.
Launched to the public in September 2022, HomeRoom now powers 170+ communities of over 200k combined members and has scaled to $22k MRR with only 70 paying customers. With integrations planned for Twitch, Mastodon, and GitHub by the end of 2023, HomeRoom is building the “Google Analytics for community.”
Arjay Ruggles, CEO, HomeRoom says: ”Audiences are exhausted by the deluge of ads inserted into every aspect of their online experience and have turned to online communities as a source of respite. In response, we’ve seen several companies capitalize on the moment: AirBnB ramped up their community strategy in 2020, cut their marketing spend in half for two years in a row, and have reached a $71 Billion market cap. I believe all businesses and creators should have access to the tools necessary to build the same opportunities for themselves. Community is the future of growth, and HomeRoom is building the foundation upon which all businesses can thrive.”
OBEYme
OBEYme is a social platform where African music fans compete to make songs go viral globally by hosting virtual parties. The most engaging users are rewarded with a pro-rata share of net subscription revenues daily. The result: African tastemakers can host the continent’s hottest parties but also monetize their local influence sustainably. In its first 3 months, 50k South African youth party-hopped virtually on OBEYme’s Beta platform.
Ygor Francisco, CEO/founder, OBEYme, stated: “The time is ripe for leveraging a music-based social platform that rewards Africa’s most influential music fans for driving the culture. Pop culture is dominated by Afrobeats and Amapiano, yet offers African fans and artists disproportionate compensation for their contribution to global music culture.”
RYLTY
RYLTY is a back-office application that helps music catalog owners maximize their investments. The first tool scans owners’ catalogs to seek out errors and omissions that cause royalty underpayments. What used to take a team of royalty accountants, analysts, and administrators days to complete, can now be done with the push of a button. To date, RYLTY has corrected over 3,000 errors and recovered more than $20 million in catalog value. Select customers include Tempo Music, Influence Media Partners, Doja Cat, Troye Sivan, and J.I.D.
Nicholas Judd, CEO, RYLTY, said: “You can’t build a company like ours in a bubble and Techstars Music is the perfect partner to help us expand our reach to help more musicians and catalog owners. We are taking a practical, multi-disciplinary approach to solve this multi-billion dollar problem. Our team is made up of some of the brightest minds in both music and fintech allowing us to take what used to be a manual process and scale it to reach every recording artist, songwriter, and catalog owner in the music industry.”
Seed
Even though Latin artists dominate the music industry today, there’s at least 25 million Latin music creators that don’t have access to music business education, losing time, money and opportunities.
Seed helps Latin music creators and their teams navigate the music industry, protect their rights and make money through an ever-growing catalog of online courses and community. Think of a private business school minus the crippling debt.
In just 15 months, Seed has enrolled more than 921 students from 36 countries, made almost half a million dollars in revenue, and closed more than 5 corporate partnerships. If you want to become a music business professional or entrepreneur, join Seed today!
Alexiomar Rodriguez, CEO, Seed, stated: “The Latin music market is a driving force behind the global music industry, with US Latin music revenues reaching $1 billion in 2022. However, in many Latin American countries, there are no music business schools, and most Latin music creators and aspiring professionals can’t afford to move to the US to attend a university and pay $40,000 in tuition per year. As a music lawyer and producer, I believe bridging this gap will open a whole new world of possibilities.”