Playfre Expands Music Streaming Service to the Entire African Continent | Tempemail – Blog – 10 minute

Playfre has announced that it plans on expands platform across the entire continent. Before this, Playfre – which launched in May 2019 – was limited to only 18 African countries and before that, only to 5 African countries.
With a library of over 50 million songs and 2 million artists, Playfre is currently the largest African music streaming service in terms of catalogue size. It has grown steadily in the past few months; averaging around 250 streams per registered user.
According to Playfre co-founder and CEO Chika Nwaogu, music isn’t limited only to the just over 20,000 registered users on the platform – it’s freely available to anyone who downloads the app. Although any visitor outside the continent of Africa who tries to use the service is taken to the “Playfre is currently not available in your country” screen.

“We just crossed the milestone of 20,000 registered users and 10 million streams, so we felt it was time to expand our services to include the entire African continent. We did this to easily hit our KPIs. We intend to serve the African continent for now before expanding to include countries outside the continent” Nwaogu said.
Playfre is now available in 54 African countries and with operations in both Kenya and Nigeria.

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Disney’s streaming chief Mayer to become TikTok CEO – Networking – Software- Tempemail – Blog – 10 minute

Walt Disney Co’s top streaming executive, Kevin Mayer, will leave the entertainment and theme parks giant to become the chief executive officer of TikTok, the popular video app owned by China’s ByteDance Technology Co, the companies said on Monday.
Mayer led the successful launch of the Disney+ streaming service in November but in February was passed over as Disney’s new chief executive.
Mayer’s appointment will be effective June 1, when he will also become chief operating officer of ByteDance, the Chinese company said.
TikTok, which allows users to create short videos with special effects, has become wildly popular with US teenagers doing viral challenges that pair dances with music clips from the app’s library. TikTok has hinted at ambitions to build a music streaming business, announcing in January that it was partnering with UK-based music rights agency Merlin to expand its musical selections.
ByteDance’s Chinese ownership, however, has sparked concerns in Washington about TikTok’s handling of personal data. The company uses sophisticated artificial intelligence to make video recommendations based on users’ behavior on the app.
In November, the US government launched a national security review of ByteDance’s US$1 billion acquisition of social media app Musical.ly, which became TikTok. Two senators introduced a bill to ban federal employees from using TikTok on government-issued phones.
One of those senators, Republican Josh Hawley, said TikTok previously told him its executives could not testify before Congress because they were located in China.
“But this new executive lives in the USA,” Hawley wrote on Twitter on Monday. “I look forward to hearing from him. Under oath.”
To appease concerns, ByteDance has stepped up efforts to separate TikTok from much of its Chinese businesses and has made several high-profile executive hires in recent months. It appointed former Microsoft intellectual property chief Erich Andersen as global general counsel in January, after hiring Vanessa Pappas, a veteran YouTube executive, to run its US operations last year.
Speculation over Mayer’s future began swirling in February after Disney named Robert Chapek as chief executive officer. Mayer, who has a “loud and forceful” style, according to a former Disney executive, was seen as a dealmaker who had only recently been put in charge of a large profit-and-loss division. His relative lack of operating experience was a main reason he did not get the top job, the former executive said.
A ByteDance spokesman said the company had “no reservations” about Mayer’s operational experience. “Any company in our sector would be delighted have him onboard.”
Under Mayer’s leadership, Disney+ collected more than 50 million subscribers in five months.
Disney named Rebecca Campbell, a 23-year company veteran, to replace Mayer as head of the direct-to-consumer and international division, which includes the streaming media units Disney is counting on to drive future growth.

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Streaming executive behind Disney+ to become new TikTok CEO | Technology- Tempemail – Blog – 10 minute

Walt Disney Co’s top streaming executive, Kevin Mayer, will leave the entertainment and theme parks giant to become the chief executive officer of TikTok, the popular video app owned by China’s ByteDance, the companies said on Monday.
Mayer led the successful launch of the Disney+ streaming service in November but in February was passed over as Disney’s new chief executive.
Mayer’s appointment will be effective 1 June, when he will also become chief operating officer of ByteDance, the Chinese company said.
TikTok, which allows users to create short videos with special effects, has become wildly popular with US teenagers doing viral challenges that pair dances with music clips from the app’s library. TikTok has hinted at ambitions to build a music streaming business, announcing in January that it was partnering with the UK-based music rights agency Merlin to expand its musical selections.

ByteDance’s Chinese ownership, however, has sparked concerns in Washington about TikTok’s handling of personal data. The company uses sophisticated artificial intelligence to make video recommendations based on users’ behavior on the app.
In November, the US government launched a national security review of ByteDance’s $1bn acquisition of social media app Musical.ly, which became TikTok under ByteDance’s leadership. Two senators have introduced a bill to ban federal employees from using TikTok on government-issued phones.
To appease those concerns, ByteDance has stepped up efforts to separate TikTok from much of its Chinese businesses and has made several high-profile executive hires in recent months. It appointed Erich Andersen, the former Microsoft intellectual property chief, as global general counsel in January, after hiring Vanessa Pappas, a veteran YouTube executive, to run its US operations last year.
Speculation over Mayer’s future began swirling in February after Disney named Robert Chapek as chief executive officer. Mayer was seen as a dealmaker who had only recently been put in charge of a large profit-and-loss division. His relative lack of operating experience was a main reason he did not get the top job, the former executive said.
A ByteDance spokesman said the company had “no reservations” about Mayer’s operational experience. “Any company in our sector would be delighted have him onboard.”
Chapek praised Mayer in a statement on Monday, saying he “has done a masterful job of overseeing and growing our portfolio of streaming services, while bringing together the creative and technological assets required to launch the hugely successful Disney+ globally”.
Under Mayer’s leadership, Disney+ signed up more than 50 million subscribers in five months.
Disney named Rebecca Campbell, a 23-year company veteran, to replace Mayer as head of the direct-to-consumer and international division, which includes the streaming media units Disney is counting on to drive future growth.

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The Twitch lockdown pitch to brands: streaming from home is our ‘bread and butter’- Tempemail – Blog – 10 minute

With marketing budgets drifting towards online video, gaming and communities, interest in Amazon-owned Twitch has been ramping up among brands. But the social video platform, which bills itself as a kind of Gogglebox for gamers, is still having to educate marketers about how to play.
Adam Harris, newly promoted to global head of brand partnership studio at Twitch, told Tempemail that a combination of record viewership and the freeze of spend on other channels such as live events and sports is driving demand.
Under the surface, the pandemic’s created a paradigm shift. Since many of us are obliged to participate in video from our homes while working remotely, this has helped immerse some marketers in the Twitch mindset.
“We’ve all been figuring out how to work remotely. We’re in the lucky position that Twitch, in essence, is people in their living rooms entertaining you, so in terms of my department and work, it’s not a giant leap, it’s our bread and butter.”
With marketing budgets broadly constricting, Twitch needs to convert a surge of interest into real relationships. “We’re really busy. As with many digital platforms, we’re seeing a lot of demand from clients who probably have accelerated their interest in Twitch.”
In 2019, there were more than 1.5 million people tuning in to Twitch at any given time and around 4 million streamers a month. Non-gaming content quadrupled over the past three years and helped contribute to 10 billion hours in 2019. Late in May, Twitch was seeing about 50% month over month growth in terms of hours watched.
Harris said: “The pandemic and the resulting digital habits have really accelerated kind of that interest in Twitch. But even though gaming is now mainstream, brands are still failing to realize the potential of the market.”
FMCG was a strong category for Twitch before the pandemic, and it remains one of the strongest-spending categories with the lockdown not diminishing demand for such products. One of the biggest challenges for Twitch, however, is describing what Twitch is. “It’s the Gogglebox of livestreaming,” Steve Ford, the vice-president of sales of Twitch, told Tempemail previously.
“Our most common questions are ‘Where do we enter? What do we do? How do we behave in this space as a brand? Who do we work with? And how do we interact in a live environment?” Harris admitted.
One of these live environments is esports. While there’s also been some nibbles on esports budgets from displaced sports marketers in the broader industry, Twitch has observed real-life sports stars become sports streamers and bring those audiences in. It’s the same for musicians who have embraced the platform for live gigging, fan outreach and some ad revenue.
“These are huge areas,” he said. Sports stars jumped onto the platform to simulate unfinished seasons. Some hung around and moved to the likes of Call of Duty Warzone and Fortnite.
Real Madrid goalkeeper Thibaut Courtois, apparently a huge NBA and F1 fan, has had his large mitts on his controller. Meanwhile McLaren F1 driver Lando Norris swerved from the road to the virtual track and dragged with him hardcore racing fans. Some of these eRaces have been picked up by BT Sport in the UK.
Harris said: “Before the lockdown people were watching sport simulators but it’s always better to watch the real thing so there wasn’t a huge kind of interest. You’d get a bigger viewership for unpacking of Fifa cards than you do for people playing Fifa for example. But increasingly now, there is no sport, we’ve seen more people watching sports sims far more on the platform. People are seeking a sports replacement that perhaps they wouldn’t normally get into.”
As the home of many esports, Twitch has been a beneficiary. While most world competitions and sports have fizzled out, there’s only a few minor roadblocks to migrating esports into the virtual to ensure a level playing field and fairness. Fortnite recently announced a new competition with a $2m prize pot. “Esports is set up very much to be able to operate in this digital-only environment.”
For brands looking to integrate with this content, Harris offered some advice. “Embrace the sellout. Gamers are shrewd, they’re digital natives, they know kind of how like that they can sniff a commercial partnership a mile off so be blatant about it, embrace that you are doing a commercial. But they now accept that these streamers are on platform to earn a living with these commercial enterprises. Make it entertaining. And finally, don’t take yourself too seriously.”
There are a few secretive Twitch projects in the works which vary from custom-built live brand experiences and games to content ideas and partnerships, which extend to Easter Egg-laden animations for gamers.
In 2018, the company generated $230m in ad revenue, up to $300m in 2019. With a slump in the going rates but a surge in audiences, it will be interesting to see how this plays out in 2020.
Harris reflected on the last few months.
“It’s unfortunate that it’s taken this to highlight Twitch on a major level. While people are beginning to realize that you will never replace genuine human interaction, we all want to go back outside, many have realized that our digital communities are a good thing.”

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Disney+ Streaming service gains 54.5mn subscribers globally- Tempemail – Blog – 10 minute

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Disney’s video on-demand streaming service Disney Plus (Disney+) has garnered 54.5 million subscribers worldwide, up 21 million from the 33.5 million it last reported on March 28.
Disney’s significant growth earlier this year came from launches of the service in the UK, Ireland, Germany, Italy, Spain, Austria, France, Switzerland, and India, the company disclosed during its quarterly earnings call.
Back in February, Disney+ was estimated to have 28.6 million paid subscribers. The new numbers indicate that Disney+ is on its way to double the base in just about three months.
Disney+ originally set a target of 60 million to 90 million subscribers by the end of fiscal 2024, when it was first launched in the US in November.
Disney on April 3 launched Disney Plus (Disney+) in India via Hotstar, a popular on-demand video platform, at a starting price of Rs 399 a year.
Disney+ Hotstar, the rebranded streaming service in India, has approximately 8 million paid subscribers, the company reported last month.
Meanwhile, Netflix also added 15.77 million subscribers to its tally during the last quarter, taking its overall subscriber base to 182.9 million globally.

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TicketPro to Launch Streaming Platform for South African Entertainers | Tempemail – Blog – 10 minute

The COVID-19 outbreak has brought the global entertainment business to a standstill with all shows and festivals cancelled. This means that for performers in lockdown, online is the new live.
TicketPro, a subsidiary of Blue Label Telecoms, has launched COVID-Zero – a platform for musicians, comedians and other artists to stream their acts online. All tickets sales will be donated to support these artists during the lockdown and fund community care packages.
COVID-Zero and the Trust Blu Foundation aim to provide communities around the country with care packages including masks, hand sanitiser, food vouchers and information on staying safe. The first 5000 Care Packages have already been donated.
“Against the backdrop of a devastating pandemic, we are determined to provide entertainment for South Africans, while also giving a much-needed boost to our entertainers and to communities in need,” says Brandon Duffield, MD of TicketPro.

“From music to comedy acts, we’re inviting audiences to tell us what they want to see on their screens.”
COVID-Zero puts entertainment first by giving artists a virtual concert stage to keep performing, engaging with their South African fan bases, and spreading positive lockdown messaging and good vibes.
All the fans have to do is sit back and watch, from the safety and comfort of their own homes. Fans can also vote for the artists they want to see and post their stay-at-home concert outfits and messages on the website and social media platforms.
COVID-Zero launches with Ryan Murgatroyd and Friends performing live on the 8th of May 2020 at 18h00.

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How anime brand Crunchyroll shows the potential of niche streaming at scale- Tempemail – Blog – 10 minute

Anime streaming service Crunchyroll has leant on 14 years of experience and customer data to commission its first-ever original shows. Amid an onslaught of subscription video services launching, this little-known media platform is living proof that supposed niche services can scale up.
These last few weeks, we’ve seen the likes of Disney+, Quibi, and the Roku Channel rush to compete against the likes of Netflix, Amazon Prime Video and legacy broadcasters for attention and revenue. But whereas those services go for broad appeal, Crunchyroll is proof that a SVOD brand can be built around a single vertical.
“They go wide and we go deep,” said Carter Hahnselle, Crunchyroll’s director of brand and title marketing, as he introduced the slate of eight new shows for 2020.
Crunchyroll was founded in 2006 in California by students Kun Gao and Vu Nguyen. After a few years of hosting unlicenced properties and fanmade dubs, it purged questionable material as studios on the other side of the Pacific warmed to being on a global, streaming platform. With more than 1,000 anime titles and 30,000 episodes from staples like Dragon Ball Super, Attack on Titan and Naruto Shippuden, Crunchyroll was snapped up by AT&T’s WarnerMedia in 2018 and has proven a valuable cornerstone of its streaming experiments.
That year, Crunchyroll breached one million subscribers ($7.99 a month), which was doubled 12 months later. These Crunchyroll subscribers reportedly consume 85 minutes of content per day. Furthermore, tens of millions more watch a limited range of shows for free with ad interruptions. Its social media community of 30m followers serves as an “online safe space for anime, a digital form of like the convention floor”.
Crunchyroll has grown such sway in anime that it simulcasts shows minutes after they run in east Asia, often with translations in eight languages to chose from. The homepage features a timer (to the second) of upcoming fresh content.
In recent years, its growth has accelerated.
Why Crunchyroll is growing so fast
“Anime is an international media, people are happy to consume this stuff with subtitles,” Hahnselle said.
One of the few factors contributing to an anime boom is the comfort English-speaking audiences have consuming subtitled shows. Hahnselle points to South Korean feature production Parasite’s surprise Oscar win as evidence of audiences’ openness to foreign-language media.
Next, the supreme popularity of Disney’s Marvel properties like The Avengers “made everyone kind of nerdy”, he added. “Nerd culture is now pop culture. For us, maybe five or ten years ago the potential anime audience was x, now it’s X to a power of X.”
Additionally, Netflix’s been arguably lifting the roof on anime fandom with a slither of its huge content budget. For example, in the UK, it recently secured the rights to Studio Ghibli’s catalogue and recently published the third season of the Castlevania, which Hahnselle confessed to liking. He admitted: “There is a halo effect that that brings more people into the anime community. It is competition, but it is unique.”
A final factor is that streaming is increasingly audiences’ primary means of media consumption. From bringing predominantly Japanese content to the US, Crunchyroll is now looking to forge out internationally. “Essentially we exist in 204 countries. And like every one of them presents a new challenge.”
Originals
The company is taking a step into originals, emboldened by 14 years of user consumption data. But what is the cap on the anime industry, currently valued at more than $19.1bn?
The company knows which genres are underserved genres and which are considered ‘whitespaces’. Informed by its experience, on the slate right now are eight shows: Onyx Equinox, In/Spectre, The God of High School, Meiji Gekken: Sword & Gun, Tower of God, High Guardian Spice, Noblesse and FreakAngels.

Hahnselle said: “The sky’s the limit. Other people are surprised by how anime can grow but not us. We believe in the community and think it is a storytelling medium that everyone should get into.“
It is using historic user data to understand the huge, diverse anime fandom. “We spend a lot of our time getting to know these people through the data and meeting them at our conventions. It is such a beautiful community that is full of life and energy and love.
“We’re always testing out certain types of content and figuring out ways to bring people into the fold and get them to stay with us.”
As an anime marketer, he knows the power of the audience as advocates of the brand. He described this as a “vortex of fandom”. Hahnselle is looking to position Crunchyroll in the same emotional space he has for Nintendo and PlayStation, brands he grew up with.
Diversification
Its unique position as the world’s largest anime portal has presented opportunities outside of streaming.
It now stages more than 190 global events each year, including the Anime Awards (it saw 11 million votes in 2020) and the Crunchyroll Expo. At the Crunchyroll Expo, it built a “living, breathing city” and hired actors to populate this anime world.
Amid its push into content creation, its also making use of its presence and knowledge of anime to bring merchandise to life with more than 100 licensors in the retail space. Mobile gaming and home video markets are also increasingly a focus as the site gets to grip with its e-commerce potential.
Hahnselle said: “Anime fandom isn’t just about watching this stuff. It’s about experiencing it with friends. It’s about talking about it online. It’s about playing video games and reading comic books. We’re uniquely situated to like super-serve fans in all of those areas.”
It is not business as usual right now with the pandemic shuttering non-essential businesses and keeping people home. While events are coming to a freeze and the online communities grow in importance, Hahnselle concluded: “Anime is such a source of comfort for so many people, we’re definitely seeing more people on Crunchyroll right now.”

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Pomelo CMO Jean Thomas on the brand’s experiments with shoppable live streaming- Tempemail – Blog – 10 minute

Pomelo’s debut into live streaming may have come before many of its key markets went into lockdown, but chief marketing officer Jean Thomas now firmly believes it’s a channel that brands should be testing and learning on.
Thomas spoke to Tempemail as part of the Digital Transformation Festival, in which the full interview will be streamed on Tuesday 21 April at 4pm Singapore/9am GMT.
Prior to joining Pomelo as chief marketing officer last year, Thomas was the chief marketing officer at Alibaba-owned Lazada and Redmart. Alibaba has been one of the pioneers of live stream commerce and during his tenure with Lazada in Southeast Asia, he got a feel for how this channel could be used, launching Pomelo’s version last month.
“I had the chance to launch the livestream with Lazada back in Singapore last year. So I had a bit of experience on, I suppose, the live stream path and learning from Alibaba Group. When it comes to Pomelo, we really focused on different initiatives but one thing that always remains is how do you engage the customer more than just sending them products? Customers today only come to buy something or maybe there’s a sale or a new collection. It’s still limited in terms of how many purchases per year you will make, and how many times you will come to that website or app. So we had to look at different ways we could increase how often people are coming to our app, and I believe live stream was a good answer for many reasons,” explains Thomas.
He also adds that at the moment, it’s not a channel that’s overly used by fashion brands, particularly with the shoppable component, so it gives Pomelo a differentiation from competitors.
“One other aspect is that we haven’t found too many players in this region within the fashion space actually doing it. Having the first-mover advantage in that space was a different point of consideration,” he says.
To listen to the whole interview, join in at The Digital Transformation Festival website, when it will be streamed on Tuesday 21 April at 4pm Singapore/9am GMT. You can also catch up on all the interviews so far from the festival, including Lazada chief marketing officer Michelle Yip and WPP CEO Mark Read on the Digital Transformation Website.

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Emerging platforms: what is Joox and why it is more than just a music streaming app- Tempemail – Blog – 10 minute

This is a new series with a focus on explaining emerging platforms born in the Asia Pacific to the rest of the world. Tempemail will look at what are their differences and similarities with their counterparts, explain what kind of ad formats are available to brands on the platforms and how brands can monetize.
A music streaming service owned by Chinese entertainment giant Tencent, Joox was launched in 2015 and amassed over 50 million downloads in 2017 and recorded over two billion streams in the same year.
Its audience base primarily comprises users from Asia (excluding China) – specifically in Hong Kong, Indonesia, Malaysia, Myanmar and Thailand. The platform has also established its presence in South Africa, the brand’s first non-Asian market.
Available as an app accessible from mobile and desktop, the platform is a freemium service with a library of about 30m songs that are free, some songs are only available for premium users. There is a wide range of songs available across different languages to cater to the local market, apart from English songs.
To appeal to the distinct tastes and preferences of users, Joox has embarked on innovative partnerships in specific Asia Pacific markets. For example, as 46.1% of music streaming users in Malaysia use Joox, the platform announced the launch of Joox Originals in the country in 2020.
This series of music crossover projects aims to build support for the local music industry by facilitating collaboration between Malaysian singers and songwriters to produce original songs.
Advertisements on Joox come in the form of splash ads, banner ads, campaign-style ads as well as audio ads. Users under a paid subscription service are able to listen to songs ad-free, skip songs at their discretion, and gain access to offline listening via song downloads.
Various consumer brands have leveraged Joox as an advertising platform, including F&B companies such as Coca-Cola and Tim Tam, as well as retail and lifestyle brands Fendi, Dior and Oppo.
The platform has a significant market share in Asia, accounting for more than 50% of all streaming app downloads in its respective Asian markets.
According to a McKinsey study in 2016, the platform was the biggest music streaming app in Thailand, Hong Kong, Malaysia and Indonesia, and accounts for over half of market share in Thailand (56%) and Hong Kong (54.7%), demonstrating notable scaling and growth in a short period of time since its launch in January 2015.
According to Irene Yang, managing director at Nativex, the platform aims to differentiate itself from other streaming services by providing hyper-localised content in its key operating markets.
“Alongside offering local artists a streaming platform for their music, Joox also connects with local audiences via its unique original podcasts. In 2019, the brand launched Joox the Series in Indonesia – a set of audio shows featuring up and coming local stars and filmmakers,” she explains to Tempemail.
Joox has also turned to gamification to focus its attention to the social and fan economy model, which has started to play a significant role for the platform in terms of user engagement.
Poshu Yeung, the vice president of Tencent International Business Group explains to Tempemail in 2019, Joox introduced a user experience-enhancing feature called ‘Joox Coins Redemption Centre’, allowing users across the region to collect Joox coins by completing simple daily missions, and redeem offers such as free Joox VIP membership, K-Plus service and access to some exclusive music events.
She claims the performance has been impressive so far as the volume of Joox Coins given out has increased by 522% the past 12 months.
“Joox users can also sing karaoke, watch live, share their favorite song list, record and post videos, send gifts and interact with their idols via the Kfunction. In 2019, more than 10m karaoke songs were sung on Joox across five markets in Asia, which is equivalent to 20 karaoke songs sung every minute on average,” she says.
“Users can also do live streaming, sharing their favorite music/ songs to gain fans and followers and earning Joox Coins and gifts from their followers. To keep our users constantly engaged, the platform offers all-around music entertainment, including music streaming, karaoke singing, watching livestreams and interacting with your beloved idols and fellow Joox users.”
These livestreams include the Melon Music Awards (MMA), Mnet Asian Music Awards (MAMA) and Seoul Music Awards (SMA), which accumulated over 3m views in 2019 on Joox.
Other exclusive livestreams include the hottest music shows across different regions in 2019 such as “Winner Everywhere Tour Encore In Seoul”, “iKON Continue Tour In Seoul”, “M countdown” in January, as well as Korean Talent Show “Produce X 101” in May.
Who uses Joox?
Users of Joox primarily come from the millennial generation (those currently aged between 24 to 39), as well as Generation Z (those currently aged 24 and below). According to Joox’s user analytics and insights, over 80% of music streaming users in its South East Asian markets are under 35 years old.
A large part of Joox’s popularity with millennials and Generation Z stems from its interactive interface and shareable content. The Joox platform’s karaoke function not only streams lyrics while songs are played but also enables users to save these on customisable “lyrics cards” with images of the user’s choices to be shared on social media. This builds engagement by enabling interactions with like-minded individuals in the community.
Yang notes amid the current coronavirus (Covid-19) developments and widespread efforts to enforce social distancing across the globe, consumers are also turning to connectivity-based apps and services for effective and safe forms of entertainment.
For example, platform insights have revealed that the average Joox desktop login rate has increased by approximately 30% in Hong Kong, since telecommuting has become commonplace. Additionally, the same insights reveal that K-function usage has increased by 25% – perhaps owing to the ease and comfort of singing karaoke in the privacy of one’s home.
“During this period, Joox has also launched in-market initiatives to engage with users – for example, the 100% Free Music initiative in Indonesia allows listeners to stream most Indonesian songs for free, as a result of a collaboration with record companies in the country,” she explains.
“The Joox Covers program, also in Indonesia, sees influencers and celebrities cover nostalgic songs from the past. Both of these come at no charge to users, and are intended to provide easily-accessible entertainment and relief during these times.”
What is Joox’s equivalent in the West?
The platform is commonly compared with Spotify given their similar business models as both are streaming services that operate on a freemium model. Most features on both platforms can be accessed free of charge, and users are also able to enjoy other benefits via a paid subscription.
However, there are differences in how advertisements are served on JOOX and Spotify. Joox focuses on interactive ad formats through splash, banner and campaign-style ads. Campaign ads are customised to suit varying brand requirements.
For example, Joox partnered with Coach designers to create a branded ‘skin’, downloadable by users as a backdrop to customise their mobile devices while playing music.
Additionally, audio ads are also served to free users, but these primarily comprise house ads outlining product features, rather than third-party ads.
In contrast, Spotify primarily utilises banner ads on its platform homepage, as well as 15 to 30-second audio ads that are occasionally accompanied by a clickable campaign image.
“A key difference between both apps is in brand positioning. While Spotify is understood as an audio streaming service, Joox positions itself as a multimedia entertainment app, offering a user interface aimed at enhancing engagement,” Yang explains.
“To that end, a unique function that can be found on the Joox mobile app is its Karaoke function, where users are able to stream song lyrics while music plays. Users are also able to watch live-streaming videos of artist performances, interact with and even send gifts to the respective artists.”
She adds: “While Spotify may have a larger music catalogue than Joox in terms of volume, one of the latter’s key differentiators is its library of local music, which offers a comprehensive range of region-specific music compared to other competitors. Additionally, Joox also curates music selections for each market in the Asia Pacific region, offering unique playlists and collections according to what users prefer to hear.”
How does Joox work with advertisers?
The popularity of Joox with listeners is partly contributed by the seamless integration of ads into the listening and streaming experience that the app provides. Brands looking into advertising on the platform can do so in various formats, from display and content, to performance, branded, and sponsorship campaigns.
Through these means, brands are able to leverage multiple touchpoints on the platform to target users when they open the app, browse the app or listen to the music in its various formats, such as audio, video and image. This will maximise the effectiveness and viewability of ads.
As a platform that is powered by an editorial team and big data, Joox allows brands looking to do performance campaigns to create curated recommendations for users.
This means brands get to create data-driven campaigns, accounting for users’ everyday music choices across languages, geographies, and genres.
“Getting a taste of the hyper-localised and personal recommendations in the form of functions such as access to randomly generated playlists or the dancing lyrics that accompany the song as it plays, gives free users the exposure to such promotion, and hence incentivises them to subscribe to full services, converting them into paid users,” explains Yang.
“For brands looking to do branded campaigns, they can increase awareness among target audiences via Joox’s interactive features, such as hosting a karaoke competition – in turn encouraging users to share branded playlists on their social media accounts or livestream brand-led marketing events.”
A brand that successfully did this was Subway in Hong Kong, who worked with Joox to co-curate a list of songs that evoke emotions for delicious food, as part of the launch of their meatball sandwich.
A feature article created and hosted on Joox that celebrated foodie culture also supported the playlist. The campaign garnered an estimated 30,000 views on the platform within three to four days.
“In-app advertising provides a very good response in terms of click-through rate, even in a conversion such as downloads,” explains Yeung, adding that the platform hopes to collaborate with different brands to leverage its functions, enabling brands to interact with in-market consumers.
“Brands who have been working closely with us will find that the click-through rate and app response rate on Joox have been very promising. We are also aiming to offer international brands a distinctive cross-platform, cross-border brand value proposition, including an easy, all-in-one advertising hub and unmatched access to consumers around the region.”
Yang advises brands to adopt a localised approach to engage their target audience, especially for Joox, as the platform has successfully employed a highly localised approach to effectively engage users with curated regional music playlists.
This means being mindful of consumer habits, and to tailor their marketing strategies accordingly with data insights gathered from these local users.
For example, users in countries such as Indonesia and Thailand tend to be very price-conscious, and hence prefer to use free streaming service instead of paying for a premium subscription.
Understanding such consumer habits would inform how brands would approach the campaign as free users would be attracted to the freemium model, they would be more receptive to viewing video ads, in order to unlock ‘VIP status’ that allows them to listen to and download unlimited songs for free. This helps to increase the viewability of ads.
“While global music streaming giants such as Spotify have a greater range of music to offer listeners, Joox has the upper hand in delivering localised content via local languages, or in sharing lyric cards for local karaoke enthusiasts, which is highly popular in Asia,” she adds.
“Brands can leverage these differentiated functions to create highly customised, mobile-focused campaigns with Joox, and reach out to various local target groups based on their genre or lifestyle interests.”
Consumers will continue to seek out personalised experiences, which means Joox will be able to grow their user base exponentially by continuing to hyper-localise their music streaming offerings to each user, according to their lifestyle and music interests and in their local language.
As more data is collected and used to inform and curate experiences for users, Joox can open up the platform to programmatic buying to successfully deliver personalised, targeted experiences to consumers.
Especially in the current climate of Covid-19, many people are spending more time at home with remote work or e-learning arrangements, accelerating the uptake of music streaming services in 2020, due to the increased flexibility in their work or learning environment.
With more time being spent in their homes, users are also more likely to explore alternative activities that they can do with their family and friends. Joox’s karaoke function can help fulfill this need for activities that families can participate in together indoors.
Read the previous feature on another emerging platform called Xiaohongshu here.

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Audio streaming platform Khabri launches an exclusive helpline platform for the blind and visually-impaired- Tempemail – Blog – 10 minute

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In the days where the whole of humanity is busy adjusting to the new world order in the wake of the pandemic, a significantly large chunk of the population which is visually impaired has not got the attention it deserves. While social distancing is the new norm, it will be a sea of change in the lives of blind and visually-impaired that revolve around touch and feel. In line with this vision, Khabri, India’s first digital audio content platform in the regional language, has rolled out an exclusive helpline portal/platform to attend the blind masses across India.
As a part of the initiative, khabri will provide aid to this segment with expert inputs from domains including medical, psychological, social or financial. Corporate houses, as well as the Government, can also be a part of this initiative, by contributing their bit either in the form of donations or any other help they can render. Through this initiative, the company also aims to raise awareness and strives to sensitize others around the same. Those in need can directly contact the team of Khabri on 9810511211 toll free number 18001542214, mobile, Whatsapp or reach them through the khabri official App.
Emphasizing the need to raise awareness in the current situation, Mr Sandeep Singh, President and Co-founder, Khabri, said, “While privileged masses can ensure compliance to social distancing, a large group of blind and visually-impaired is facing a plethora of challenges – be it social, medical or psychological. During these unprecedented times, they need the utmost care as their entire life revolves around touching and sensing. With our helpline portal, we endeavour to reach this cohort and address their problems. Besides this, we are also planning to hold live sessions with experts for direct interaction and make sure that the community of blind and visually-impaired is not left behind.”
Commenting on the same, Honorary Secretary In-Charge Shri  S.K. Singh, NAB said, “We are glad to see that organizations like Khabri are thinking about us during these difficult times. The helpline portal comes as a huge relief to the community of blind people across the country and further gives them hope to stand stronger in this scenario. Blinds have a different set of problems in addition to normal people which will now be noticed and addressed with Khabri’s help. We would like to thank Khabri and its entire team to turn this brilliant idea into a possible reality.”
Khabri is also set to launch a dedicated content channel, live counselling session & a celebrity-led talk show to further its commitment towards empowering the blind community across India.
Khabri is India’s first digital audio content platform in the regional language. It is the first pure-play audio platform to discover, listen and create audio content in an Indian vernacular.

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