Amelia Dimoldenberg says publicists ignored her interview show for years but she can now be picky over A-list guests
Just a decade ago, Amelia Dimoldenberg found it impossible to drum up any mainstream celebrities to come on her mock date YouTube show, in which she chats awkwardly with guests over chicken and chips.
Even persuading a local actor connected with her London youth club to come on took years of prodding. Managers of A-listers with movies or albums to push instead battled to claim a spot on the hallowed cushions of the primetime TV chatshow sofa.
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© Photograph: Chicken Shop Date
© Photograph: Chicken Shop Date
© Photograph: Chicken Shop Date
Independent podcast apps are not growing as a category. This is not a particular secret, but perhaps you haven’t seen it stated explicitly. It’s the sort of thing that has to be inferred, but there’s plenty of available data if you look for it. While the podcasting sector has seen growth, this has occurred almost entirely on platforms like YouTube, and the independent podcast app userbase has mostly just stood still.
[…]
I’m sure somewhere out there a 21-year-old just downloaded Castro or Pocket Casts for the first time and thinks RSS feeds are awesome (if you are this person, please email me). But every number I can see indicates the userbase is both static and aging. Every new customer I talk to has used some combination of Apple Podcasts, Overcast, Pocket Casts, or Castro for at least the last 5 years if not the last 10.
[…]
Perhaps there are healthy businesses that get very few new users but instead gracefully age with the ones they have. Ferrari maybe? Buddy, smartphone apps are not one of those businesses.
[…]
I would rather work on flashy features to capture new users, but, reality being what it is, I have to think about things in terms of both the health of the ecosystem and what will actually help retain existing podcast app users.
Anil Dash wrote, in 2014, that the simple phrase wherever you get your podcasts is a “radical statement”:
[…] Because what it represents is the triumph of exactly the kind of technology that’s supposed to be impossible: open, empowering tech that’s not owned by any one company, that can’t be controlled by any one company, and that allows people to have ownership over their work and their relationship with their audience.
Video podcasting changes that. In its simplest form, it is just a YouTube channel, which means it is siloed and controlled by Google. Spotify also supports video but only in its app.
So Marco described a problem. What if someone manually asks to download an episode when they already have three downloaded? You can’t just immediately delete it to keep things tidy. So what do you do? Marco added a special hidden “episode downloaded manually” flag to the database, so those episodes would not count towards the limit.
This is one more example of how even the most seemingly trivial features require thinking through and accounting for different cases that may not be obvious at first glance. Every user interface designer and product designer should collect and absorb examples like this.
[…]
Finally, Marco’s wife Tiff suggests a solution to all the problems: just don’t let users download more episodes, she said, and show them a message, roughly: “Your episode limit is three, but this would be the fourth, denied”.
Marco liked the solution. I didn’t. Sure, it solves Marco’s problems, but not the user’s.
Birman presents this as “Let me click,” but I wanted to offer two alternative/complementary principles that helped me before:
- Let me do things in any order. Here’s Google Home app, where I can change the temperature and the time for holding – but if I change the time first, it frustratingly resets when I subsequently change the temperature. It forces one specific order in an interface that suggests any order is okay[…]
- The current action has the most momentum. The user is right there, active, tapping on things, wanting to get stuff done. If Overcast indeed throws a “your episode limit is three” message, then it forces the user to remember how to get to the settings and change it. The momentum is lost. The decisions of past me should not be as important as the decisions of present me.
FWIW, the entire strict-limit feature is gone in the pending update (awaiting App Store review). EVERYONE hated it.
Now I’m just displaying the added-manually status in the UI and allowing it to be toggled manually in the “…” menu.
I’ve needed to evolve my expectations for what my role in Overcast is.
After building up a large, passionate userbase over a very long time, it’s not really entirely mine anymore. I can’t just do whatever I want with it.
And the growth era of open/RSS/indie/whatever podcast apps is over. The business is now about serving and retaining my existing customers for as long as possible.
So I can add things here and there, very carefully, but I can’t really change anything significant.
Previously:
CompartilharDescubra como baixar vídeos do YouTube para assistir offline sem instalar programas, para ver quando não tiver uma conexão disponível. Como baixar vídeos do YouTube …
O post Como baixar vídeos do YouTube para assistir offline sem instalar programas apareceu primeiro em Blog do Edivaldo - Informações e Notícias sobre Linux.
YouTube announced Partner Program changes taking effect in 2027, including new Shorts earnings rules, activity checks, and a terms deadline.
The post YouTube Adds New Shorts Payout Rules To Partner Program Terms appeared first on Search Engine Journal.
A detenção de Andrew Tate reabre a pergunta errada. O problema nunca foi ele poder falar - foi as plataformas terem transformado o que ele diz num produto, defende Elisa Tarzia.
The post Liberdade de expressão não é liberdade de alcance appeared first on Tek Notícias.
Se você quer acessar o YouTube usando a linha de comando, conheça e veja como instalar o cliente de YouTube Yewtube no Linux.
Leia o restante do texto "Como instalar o cliente de YouTube Yewtube no Linux"
O post Como instalar o cliente de YouTube Yewtube no Linux apareceu primeiro em Blog do Edivaldo - Informações e Notícias sobre Linux.
U.S. YouTube Premium subscribers will soon get even more value from their membership through an expanded NBCUniversal partnership.
(via Cult of Mac - Your source for the latest Apple news, rumors, analysis, reviews, how-tos and deals.)
Pre-Covid, the movie landscape was dramatically different: YouTubers weren’t dominating the box office, video game spin-offs rarely made an impact and Winnie-the-Pooh wasn’t yet the star of a slasher movie. Why such a flurry of innovation – and what will be next?
Cinema has always been a medium of research and development. At any given point, the industry is searching for yet another breakthrough that can drive it into the future. Synchronised sound in the 1920s. Technicolor in the 1930s. The invention of the modern blockbuster in the 1970s.
Conversely, the consensus is that, if the 2020s has a defining trend, then it is one of decline. The theatrical experience is under attack from all angles: streaming, YouTube, a once-in-a-century health crisis that shut cinemas down entirely. And yet, if you look closer, this has actually been one of the most innovative decades that cinema has ever seen. Whether down to technology or desperation, the film industry has spent these last few years figuring out new ways to make films that simply could not have existed even at the turn of the decade.
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© Photograph: SKLAE/Signature Entertainment
© Photograph: SKLAE/Signature Entertainment
© Photograph: SKLAE/Signature Entertainment
Jason Koebler (tweet, Reddit):
The AI music generation tool Suno scraped millions of songs and lyrics from YouTube Music, Deezer, and Genius, as well as from the stock music libraries Pond5, Jamendo, Freesound, the International Music Score Library Project, and podcasts via RSS feeds, according to a hacker who breached the company and shared data about Suno’s training libraries with 404 Media. The hacker was also able to access user information for hundreds of thousands of Suno’s customers, as well as Stripe payment information, they said.
[…]
As part of these legal proceedings, Suno previously admitted that it was trained on “essentially all music files of reasonable quality that are accessible on the open internet,” which included a total of “tens of millions of recordings.” Suno has been making the argument that it is allowed to train on copyrighted works as fair use in those cases, one of which has been settled.
Suno has long acknowledged that its AI music generator relied on the scraping of millions of songs available across the internet, but a new hack reveals just how the company pulled from streaming services and websites[…] all while user information remained vulnerable.
[…]
“Our goal has always been to help people create original new music, not replicate someone else’s. That’s why we build our models around what we call ‘Original Creation, By Design,’” the spokesperson said in a statement. “For example, we intentionally do not use artist names as a category of training metadata because we want our models to help people create brand new songs, not music that replicates other artists’ existing work. It’s also why we built Suno with detection filters that block or prevent a user from using specific artist, song, or album names as prompts, and prevent users from uploading lyrics or sound recordings that match existing works.”
Previously:
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