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Stocks rallied Monday, with all major indices snapping back into positive territories as investors seized on any positive developments in the fight to mitigate the spread of COVID-19, the disease caused by coronavirus.

The stock market is, of course, not the economy. And this is likely a dead cat bounce — a temporary recovery after a big fall. The question is how many dead cat bounces will we see in the coming weeks?

And while the economic fallout from the COVID-19 pandemic is continuing that didn’t stop investors from grasping at data from John Hopkins University that suggests the number of new COVID-19 cases is slowing. The institution’s coronavirus map, which has become a go-to source, showed 25,200 new cases rising on March 31, then rising to 33,300 new cases by April 3. Those numbers dropped to 28,200 new cases April 4, per its data; other trackers have posted slightly different results.

Today’s rally will be tested in the days and weeks to come as COVID-19 cases continue and eventually hit a peak before plateauing. Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases and a member of the White House coronavirus task force, has warned that cases, and deaths, will likely surge in the next week.

Here are the day’s results:

  • Dow Jones Industrial Average: up 7.59%, or 1,597.21 points, to close at 22.649.74
  • S&P 500: rose 6.95%, or 172.86 points, to close at 2,661.51
  • Nasdaq composite: popped 7.33%, or 540.15 points, to close at 7,913.24

There were other indirect COVID-19 fundamentals such as new sales guidance or analyst notes that also moved certain stocks.

E-commerce stocks, including eBay and Amazon saw positive movement. Online retailer Wayfair was perhaps the biggest mover in this category. The company’s shares opened 36% higher after reporting its gross revenue growth rate more than doubled at the end of March. Wayfair shares closed up 41.7% to $71.50.

Music streaming company Spotify saw shares decline more than 4% after Raymond James downgraded the stock from “strong buy” to “market perform,” citing that COVID-19 was causing less engagement and fewer downloads as users spend more time indoors. Spotify shares did manage to bounce back during the day and ended up closing up nearly 0.33% to $122.52.

Shares of SaaS companies rallied on the day as well, with the Bessemer cloud index rising 6.79% on the day; shares of SaaS companies, modern software firms, have enjoyed strong revenue multiples in recent years. They have tracked the broader indices down, however, and remain in bear-market territory.

Looking ahead, we’re entering earnings season during a period of intense economic uncertainty; how the stock market performs in the future will at least partially depend on how companies performed in Q1 2020, and what they project for the future. Get ready.

Read more: https://techcrunch.com/2020/04/06/american-stocks-rally-sharply-on-covid-19-optimism-as-earnings-loom/

The Scoot Moped — an electric moped born out of Bird’s acquisition of Scoot — will launch in Austin five months after unveiling the shared micromobility vehicle.

The new moped is the latest effort by Bird to diversify its product offerings to capture more customers. The Scoot Mopeds, which are now available on the Bird app, feature large-volume tires, hydraulic disc brakes, two side mirrors, an LCD display for vehicle speed information, as well as two sizes of helmets, which are stored in a box on the vehicle. Users of the Scoot Moped must be 18 years or older and have a valid driver’s license. 

Bird first unveiled the Scoot Moped in October following its acquisition of Scoot. Initially the mopeds were piloted in Los Angeles, according to Bird. The Austin launch, which kicks off the week before the city’s SXSW music, tech, film and comedy festival begins, marks the official rollout of the Scoot Mopeds. The SXSW festival has not been cancelled yet, although numerous companies are pulling out over concerns of the coronavirus. SXSW organizers said March 2 that the “2020 event is proceeding with safety as a top priority.”

The Scoot Mopeds will join a bevy of shared mobility vehicles that are already on Austin’s city streets. The Austin City Council approved in February 2018 the creation of a “dockless” bike-share pilot program. Some companies were already operating these services; this action created a regulatory framework. But then scooters came en masse.

The scooters upended bike share, and prompted companies to take some of their bikes off the streets due to lack of demand, according to several city officials who spoke to TechCrunch during SXSW 2019.

Bird is “working closely with the city to help achieve the goal of 50-50 mode shift by 2039 and looks forward to collaborating on more solutions in support of the Austin Strategic Mobility Plan,” Blanca Laborde, a government partnerships team member for Bird, said in a statement. “We think Austinites are going to love this new way to get around.”

Read more: https://techcrunch.com/2020/03/05/bird-launches-scoot-mopeds-in-austin-ahead-of-sxsw/

Excitement for The Europas Awards for European Tech Startups is heating up. Here is the first wave of speakers and judges — with more coming!

The Awards — which have been running for over 10 years — will be held on 25 June 2020 in London, U.K. on the front lawn of the Geffrye Museum in Hoxton, London — creating a fantastic and fun garden-party atmosphere in the heart of London’s tech startup scene.

TechCrunch is once more the exclusive media sponsor of the awards and conference, alongside The Pathfounder.

The application form to enter is here.

We’re scouting for the top late-stage seed and Series A startups in 22 categories.

You can nominate a startup, accelerator or venture investor that you think deserves to be recognized for their achievements in the last 12 months.

CLOSING DATE FOR APPLICATIONS: 25 March 2020

For the 2020 awards, we’ve overhauled the categories to a set that we believe better reflects the range of innovation, diversity and ambition we see in the European startups being built and launched today. This year we are particularly looking at startups that are able to address the SDGs/Globals Boals.

The Europas Awards
The Europas Awards results are based on voting by experts, experienced founders, hand-picked investors and the industry itself.

But the key to it is that there are no “off-limits areas” at The Europas, so attendees can mingle easily with VIPs.

Timeline of The Europas Awards deadlines:

Submissions now open!
25 March 2020 – Submissions close
14 April – Public voting begins
25 April – Public voting ends
8 June – Shortlist Announced
25 June – Awards evening, winners announced

Amazing networking

We’re also shaking up the awards dinner itself. There are more opportunities to network. Our awards ceremony this year will be in the setting of a garden/lawn party, where you’ll be able to meet and mingle more easily, with free-flowing drinks and a wide selection of street food (including vegetarian/vegan). The ceremony itself will last less than 45 minutes, with the rest of the time dedicated to networking. If you’d like to talk about sponsoring or exhibiting, please contact Claire Dobson on claire@thepathfounder.com

Instead of thousands and thousands of people, think of a great summer event with the most interesting and useful people in the industry, including key investors and leading entrepreneurs.

The Europas Awards have been going for the last 10 years, and we’re the only independent and editorially driven event to recognise the European tech startup scene. The winners have been featured in Reuters, Bloomberg, VentureBeat, Forbes, Tech.eu, The Memo, Smart Company, CNET, many others — and of course, TechCrunch.

• No secret VIP rooms, which means you get to interact with the speakers

• Key founders and investors attending

• Journalists from major tech titles, newspapers and business broadcasters

The Pathfounder Afternoon Workshops
In the afternoon prior to the awards we will be holding a special, premium content event, The Pathfounder, designed be a “fast download” into the London tech scene for European founders looking to raise money or re-locate to London. Sessions include “How to Craft Your Story”; “Term Sheets”; “Building a Shareholding Structure”; Investor Panel; Meet the Press; and a session from former Europas winners. Followed by the awards and after-party!

The Europas “Diversity Pass”
We’d like to encourage more diversity in tech! That’s why we’ve set aside a block of free tickets to ensure that pre-seed female and BAME founders are represented at The Europas. This limited tranche of free tickets ensures that we include more women and people of colour who are specifically “pre-seed” or “seed-stage” tech startup founders. If you are a women/BAME founder, apply here for a chance to be considered for one of the limited free diversity passes to the event.

Meet some of our first speakers and judges:


Anne Boden
CEO
Starling Bank
Anne Boden is founder and CEO of Starling Bank, a fast-growing U.K. digital bank targeting millions of users who live their lives on their phones. After a distinguished career in senior leadership at some of the world’s best-known financial heavyweights, she set out to build her own mobile bank from scratch in 2014. Today, Starling has opened more than one million current accounts for individuals and small businesses and raised hundreds of millions of pounds in backing. Anne was awarded an MBE for services to financial technology in 2018.


Nate Lanxon (Speaker)
Editor and Tech Correspondent
Bloomberg
Nate is an editor and tech correspondent for Bloomberg, based in London. For over a decade, he has particularly focused on the consumer technology sector, and the trends shaping the global industry. Previous to this, he was senior editor at Bloomberg Media and was head of digital editorial for Bloomberg.com in Europe, the Middle East and Africa. Nate has held numerous roles across the most respected titles in tech, including stints as editor of WIRED.co.uk, editor-in-chief of Ars Technica UK and senior editor at CBS-owned CNET. Nate launched his professional career as a journalist by founding a small tech and gaming website called Tech’s Message, which is now the name of his weekly technology podcast hosted at natelanxon.com.


Tania Boler
CEO and founder
Elvie
/> Tania is an internationally recognized women’s health expert and has held leadership positions for various global NGOs and the United Nations. Passionate about challenging taboo women’s issues, Tania founded Elvie in 2013, partnering with Alexander Asseily to create a global hub of connected health and lifestyle products for women.


Kieran O’Neill
CEO and co-founder
Thread
Thread makes it easy for guys to dress well. They combine expert stylists with powerful AI to recommend the perfect clothes for each person. Thread is used by more than 1 million men in the U.K., and has raised $35 million from top investors, including Balderton Capital, the founders of DeepMind and the billionaire former owner of Warner Music. Prior to Thread, Kieran founded one of the first video sharing websites at age 15 and sold it for $1.25 million at age 19. He was then CEO and co-founder of Playfire, the largest social network for gamers, which he grew to 1.5 million customers before being acquired in 2012. He’s a member of the Forbes, Drapers and Financial Times 30 Under 30 lists.


Clare Jones
Chief Commercial Officer
what3words
Clare is the chief commercial officer of what3words; prior to this, her background was in the development and growth of social enterprises and in impact investment. Clare was featured in the 2019 Forbes 30 under 30 list for technology and is involved with London companies tackling social/environmental challenges. Clare also volunteers with the Streetlink project, doing health outreach work with vulnerable women in South London.


Luca Bocchio
Principal
Accel
Luca Bocchio joined Accel in 2018 and focuses on consumer internet, fintech and software businesses. Luca led Accel’s investment in Luko, Bryter and Brumbrum. Luca also helped lead Accel’s investment and ongoing work in Sennder. Prior to Accel, Luca was with H14, where he invested in global early and growth-stage opportunities, such as Deliveroo, GetYourGuide, Flixbus, SumUp and SecretEscapes. Luca previously advised technology, industrial and consumer companies on strategy with Bain & Co. in Europe and Asia. Luca is from Italy and graduated from LIUC University.


Bernhard Niesner
CEO and c-founder
busuu
/> Bernhard co-founded busuu in 2008 following an MBA project and has since led the company to become the world’s largest community for language learning, with more than 90 million users across the globe. Before starting busuu, Bernhard worked as a consultant at Roland Berger Strategy Consultants. He graduated summa cum laude in International Business from the Vienna University of Economics and Business and holds an MBA with honours from IE Business School. Bernhard is an active mentor and business angel in the startup community and an advisor to the Austrian Government on education affairs. Bernhard recently received the EY Entrepreneur of the Year 2018 UK Awards in the Disruptor category.


Chris Morton
CEO and founder
Lyst
Chris is the founder and CEO of Lyst, the world’s biggest fashion search platform used by 104 million shoppers each year. Including over 6 million products from brands including Burberry, Fendi, Gucci, Prada and Saint Laurent, Lyst offers shoppers convenience and unparalleled choice in one place. Launched in London in 2010, Lyst’s investors include LVMH, 14W, Balderton and Accel Partners. Prior to founding Lyst, Chris was an investor at Benchmark Capital and Balderton Capital in London, focusing on the early-stage consumer internet space. He holds an MA in physics and philosophy from Cambridge University.


Husayn Kassai
CEO and co-founder
Onfido
/> Husayn Kassai is the Onfido CEO and co-founder. Onfido helps businesses digitally onboard users by verifying any government ID and comparing it with the person’s facial biometrics. Founded in 2012, Onfido has grown to a team of 300 across SF, NYC and London; received over $100 million in funding from Salesforce, Microsoft and others; and works with over 1,500 fintech, banking and marketplace clients globally. Husayn is a WEF Tech Pioneer; a Forbes Contributor; and Forbes’ “30 Under 30”. He has a BA in economics and management from Keble College, Oxford.

Read more: https://techcrunch.com/2020/02/26/meet-the-first-wave-of-speakers-enter-your-startup-for-the-europas-awards-25-june/

Airbnb has well and truly disrupted the world of travel accommodation, changing the conversation not just around how people discover and book places to stay, but what they expect when they get there, and what they expect to pay. Today, one of the startups riding that wave is announcing a significant round of funding to fuel its own contribution to the marketplace.

Domio, a startup that designs and then rents out apart-hotels with kitchens and other full-home experiences, has raised $100 million ($50 million in equity and $50 million in debt) to expand its business in the U.S. and globally to 25 markets by next year, up from 12 today. Its target customers are millennials traveling in groups or families swayed by the size and scope of the accommodation — typically five times bigger than the average hotel room — as well as the price, which is on average 25% cheaper than a hotel room.

The Series B, which actually closed in August of this year, was led by GGV Capital, with participation from Eldridge Industries, 3L Capital, Tribeca Venture Partners, SoftBank NY, Tenaya Capital and Upper90. Upper90 also led the debt round, which will be used to lease and set up new properties.

Domio is not disclosing its valuation, but Jay Roberts, the founder and CEO, said in an interview that it’s a “huge upround” and around 50x the valuation it had in its seed round and that the company has tripled its revenues in the last year. Prior to this, Domio had only raised around $17 million, according to data from PitchBook.

For some comparisons, Sonder — another company that rents out serviced apartments to the kind of travelers who have a taste for boutique hotels — earlier this year raised $225 million at a valuation north of $1 billion. Others like Guesty, which are building platforms for others to list and manage their apartments on platforms like Airbnb, recently raised $35 million with a valuation likely in the range of $180 million to $200 million. Airbnb is estimated to be valued around $31 billion.

Domio plays in an interesting corner of the market. For starters, it focuses its accommodations at many of the same demographics as Airbnb. But where Airbnb offers a veritable hodgepodge of rooms and homes — some are people’s homes, some are vacation places, some never had and never will have a private occupant, and across all those the range of quality varies wildly — Domio offers predictability and consistency with its (possibly more anodyne) inventory.

“We are competing with amateur hosts on Airbnb,” said Roberts, who previously worked in real estate investment banking. “This is the next step, a modern brand, the next Marriott but with a more tech-powered brain and operating model.” These are not to be confused with something like Hilton’s Homewood Suites, Roberts stressed to me. He referred to Homewood as “a soulless hotel chain.”

“Domio is the anti-hotel chain,” he added.

Roberts is also quick to describe how Domio is not a real estate company as much as it is a tech-powered business. For starters, it uses quant-style algorithms that it’s built in-house to identify regions where it wants to build out its business, basing it not just on what consumers are searching for, but also weather patterns, economic indicators and other factors. After identifying a city or other location, it works on securing properties.

It typically sets up its accommodations in newer or completely new buildings, where developers — at least up to now — are not usually constructing with short-term rentals in mind. Instead, they are considering an option like Domio as an alternative to selling as condominiums or apartments, something that might come up if they are sensing that there is a softening in the market. “We typically have 75%-78% occupancy,” Roberts said. He added that hotels on average have occupancy rates in the high 60% nationally.

As Domio lengthens its track record — its 12 U.S. markets include Miami, Los Angeles, Philadelphia and Phoenix — Roberts says that they’re getting a more select seat at the table in conversations.

“Investors are starting to go out to buy properties on our behalf and lease them to us,” he said. This gives the startup a much more favorable rate and terms on those deals. “The next step is that Domio will manage these directly.” The most recent property it signed, he noted, includes a Whole Foods at the ground level, and a gym.

Using technology to identify where to grow is not the only area where tech plays a role. Roberts said that the company is now working on an app — yet to be released — that will be the epicenter of how guests interact to book places and manage their experience once there.

“Everything you can do by speaking to a human in a traditional hotel you will be able to do with the Domio app,” he said. That will include ordering room service, getting more towels, booking experiences and getting restaurant recommendations. “You can book your Uber through the Domio app, or sync your Spotify account to play music in the apartment.

And there are plans to extend the retail experience using the app. Roberts says it will be a “shoppable” experience where, if you like a sofa or piece of art in the place where you’re staying, you can order it for your own home. You can even order the same wallpaper that’s been designed to decorate Domio apartments.

Ripe for the booking

Although Airbnb has grown to be nearly as ubiquitous as hotels (and perhaps even more prominent, depending on who you are talking to), the wider travel and accommodation market is still ripe for the taking, estimated to reach $171 billion by 2023 and the highest growth sector in the travel industry.

“Airbnb has taught us that hotels are not the only place to stay,” said Hans Tung, GGV’s managing partner. “Domio is capitalizing on the global shift in short-term travel and the consumer demand for branded experiences. From my travels around the world, there is a large, underserved audience — millennials, families, business teams — who prefer the combined benefits of an apartment and hotel in a single branded experience.”

I mentioned to Roberts that the leasing model reminded me a little of WeWork, which itself does not own the property it curates and turns into office space for its tenants. (The SoftBank investor connection is interesting in that regard.) Roberts was very quick to say that it’s not the same kind of business, even if both are based around leased property re-rented out to tenants.

“One of the things we liked about Domio is that is very capital-efficient,” said Tung, “focusing on the model and payback period. The short-term nature of customer stays and the combination of experience/price required to maintain loyal customers are natural enforcers of efficient unit economics.”

“For GGV, Domio stands out in two ways,” he continued. “First, CEO Jay Roberts and the Domio team’s emphasis on execution is impressive, with expansion into 12 cities in just three years. They have the right combination of vision, speed and agility. Domio’s model can readily tap into the global opportunity as they have ambition to scale to new markets. The global travel and tourism spend is $2.8 trillion with 5 billion annual tourists. Global travelers like having the flexibility and convenience of both an apartment and hotel — with Domio they can have both.”

Read more: https://techcrunch.com/2019/12/17/domio-raises-100m-in-equity-and-debt-to-take-on-airbnb-and-hotels-with-its-curated-apartments/

Much of Silicon Valley mythology is centered on the founder-as-hero narrative. But historically, scientific founders leading the charge for bio companies have been far less common.

Developing new drugs is slow, risky and expensive. Big clinical failures are all too common. As such, bio requires incredibly specialized knowledge and experience. But at the same time, the potential for value creation is enormous today more than ever with breakthrough new medicines like engineered cell, gene and digital therapies.

What these breakthroughs are bringing along with them are entirely new models — of founders, of company creation, of the businesses themselves — that will require scientists, entrepreneurs and investors to reimagine and reinvent how they create bio companies.

In the past, biotech VC firms handled this combination of specialized knowledge + binary risk + outsized opportunity with a unique “company creation” model. In this model, there are scientific founders, yes; but the VC firm essentially founded and built the company itself — all the way from matching a scientific advance with an unmet medical need, to licensing IP, to having partners take on key roles such as CEO in the early stages, to then recruiting a seasoned management team to execute on the vision.

Image: PASIEKA/SCIENCE PHOTO LIBRARY/Getty Images

You could call this the startup equivalent of being born and bred in captivity — where great care and feeding early in life helps ensure that the company is able to thrive. Here the scientific founders tend to play more of an advisory role (usually keeping day jobs in academia to create new knowledge and frontiers), while experienced “drug hunters” operate the machinery of bringing new discoveries to the patient’s bedside. This model’s core purpose is to bring the right expertise to the table to de-risk these incredibly challenging enterprises — nobody is born knowing how to make a medicine.

But the ecosystem this model evolved from is evolving itself. Emerging fields like computational biology and biological engineering have created a new breed of founder, native to biology, engineering and computer science, that are already, by definition, the leading experts in their fledgling fields. Their advances are helping change the industry, shifting drug discovery away from a highly bespoke process — where little knowledge carries over from the success or failure of one drug to the next — to a more iterative, building-block approach like engineering.

Take gene therapy: once we learn how to deliver a gene to a specific cell in a given disease, it is significantly more likely we will be able to deliver a different gene to a different cell for another disease. Which means there’s an opportunity not only for novel therapies but also the potential for new business models. Imagine a company that provides gene delivery capability to an entire industry — GaaS: gene-delivery as a service!

Once a founder has an idea, the costs of testing it out have changed too. The days of having to set up an entire lab before you could run your first experiments are gone. In the same way that AWS made starting a tech company vastly faster and easier, innovations like shared lab spaces and wetlab accelerators have dramatically reduced the cost and speed required to get a bio startup off the ground. Today it costs thousands, not millions, for a “killer experiment” that will give a founding team (and investors) early conviction.

What all this amounts to is scientific founders now have the option of launching bio companies without relying on VCs to create them on their behalf. And many are. The new generation of bio companies being launched by these founders are more akin to being born in the wild. It isn’t easy; in fact, it’s a jungle out there, so you need to make mistakes, learn quickly, hone your instincts, and be well-equipped for survival. On the other hand, given the transformative potential of engineering-based bio platforms, the cubs that do survive can grow into lions.

Image via Getty Images / KTSDESIGN/SCIENCE PHOTO LIBRARY

So, which is better for a bio startup today: to be born in the wild — with all the risk and reward that entails — or to be raised in captivity

The “bred in captivity” model promises sureness, safety, security. A VC-created bio company has cache and credibility right off the bat. Launch capital is essentially guaranteed. It attracts all-star scientists, executives and advisors — drawn by the balance of an innovative, agile environment and a well-funded, well-connected support network. I was fortunate enough to be an early executive in one of these companies, giving me the opportunity to work alongside industry luminaries and benefit from their well-versed knowledge of how to build a world-class bio company with all its complex component parts: basic, translational, clinical research, from scratch. But this all comes at a price.

Because it’s a heavy lift for the VCs, scientific founders are usually left with a relatively small slug of equity — even founding CEOs can end up with ~5% ownership. While these companies often launch with headline-grabbing funding rounds of $50m or above, the capital is tranched — meaning money is doled out as planned milestones are achieved. But the problem is, things rarely go according to plan. Tranched capital can be a safety net, but you can get tangled in that net if you miss a milestone.

Being born in the wild, on the other hand, trades safety for freedom. No one is building the company on your behalf; you’re in charge, and you bear the risk. As a recent graduate, I co-founded a company with Harvard geneticist George Church. The company was bootstrapped — a funding strategy that was more famine than feast — but we were at liberty to try new things and run (un)controlled experiments like sequencing heavy metal wildman Ozzy Osbourne.

It was the early, Wild West days of the genomics revolution and many of the earliest biotech companies mirrored that experience — they weren’t incepted by VCs; they were created by scrappy entrepreneurs and scientists-turned-CEO. Take Joshua Boger, organic chemist and founder of Vertex Pharmaceuticals: starting in 1989 his efforts to will into existence a new way to develop drugs, thrillingly captured in Barry Werth’s The Billion-Dollar Molecule and its sequel The Antidote in all its warts and nail-biting glory, ultimately transformed how we treat HIV, hepatitis C and cystic fibrosis.

Today we’re in a back-to-the-future moment and the industry is being increasingly pushed forward by this new breed of scientist-entrepreneur. Students-turned-founder like Diego Rey of in vitro diagnostics company GeneWEAVE and Ramji Srinivasan of clinical laboratory Counsyl helped transform how we diagnose disease and each led their companies to successful acquisitions by larger rivals.

Popular accelerators like Y Combinator and IndieBio are filled with bio companies driven by this founder phenotype. Ginkgo Bioworks, the first bio company in Y Combinator and today a unicorn, was founded by Jason Kelly and three of his MIT biological engineering classmates, along with former MIT professor and synthetic biology legend Tom Knight. The company is not only innovating new ways to program biology in order to disrupt a broad range of industries, but it’s also pioneering an innovative conglomerate business model it has dubbed the “Berkshire for biotech.”

Like the Ginkgo founders, Alec Nielsen and Raja Srinivas launched their startup Asimov, an ambitious effort to program cells using genetic circuits, shortly after receiving their PhDs in biological engineering from MIT. And, like Boger, renowned machine learning Stanford professor Daphne Koller is working to once again transform drug discovery as the founder and CEO of Instiro.

Just like making a medicine, no one is born knowing how to build a company. But in this new world, these technical founders with deep domain expertise may even be more capable of traversing the idea maze than seasoned operators. Engineering-based platforms have the potential to create entirely new applications with unprecedented productivity, creating opportunities for new breakthroughs, novel business models, and new ways to build bio companies. The well-worn playbooks may be out of date.

Founders that choose to create their own companies still need investors to scrub in and contribute to the arduous labor of company-building — but via support, guidance, and with access to networks instead. And like this new generation of founders, bio investors today need to rethink (and re-value) the promise of the new, and still appreciate the hard-earned wisdom of the old. In other words, bio investors also need to be multidisciplinary. And they need to be comfortable with a different kind of risk: backing an unproven founder in a new, emerging space. As a founder, if you’re willing to take your chances in the wild, you should have an investor that understands you, believes in you, can support you and, importantly, is willing to dream big with you.

Read more: https://techcrunch.com/2019/08/09/biotech-researchers-venture-into-the-wild-to-start-their-own-business/

Jonathan Keidan, the founder of Torch Capital, had already built a portfolio that included Acorns, Compass, Digital Ocean and Sweetgreen, before he raised single dollar for his inaugural venture capital fund, which just closed with $60 million.

Keidan, a consummate networker who began his professional career as a manager working with acts like The Nappy Roots, The Getaway People and a young John Legend, just managed to be in the right place at the right time, he says (thanks, in part, to his gift for gab).

The final close for Torch Capital’s first fund is just the beginning for Torch, which is angling to be one of the premiere firms for early stage consumer internet and consumer facing enterprise software.

The firm began raising its first fund in October 2017 and held a $40 million first close just about one year ago. Keidan and his partners had targeted $50 million for his first investment vehicle, but wound up hitting the hard cap of $60 million, in part due to high demand from the New York-based entrepreneurs that Keidan considers his peers.

In addition to backers like the George Kaiser Family Foundation and billionaire Hong Kong fashion mogul Silas Chou, Keidan was able to tap startup founders like Jennifer Fleiss, the co-founder of Rent the Runway; Casper co-founders Philip Krim and Neil Parikh; and Bryan Goldberg, the founder of Bleacher Report and owner of Bustle Media Group (which includes Gawker, Bustle, Elite Daily, Mic, The Outline, and The Zoe Report, which collectively form Bustle Digital Group).

“Because I’ve taken a more startup approach i was recruiting raising money and doing deals at the same time,” says Keidan. 

Screen

A sampling of Torch Capital’s portfolio investments

Along with partners Sam Jones, a former London-based investment banker; Katie Reiner, an investor at the data-driven growth fund, Lead Edge Capital; Curtis Chang, a technology-focused investment banker from HSBC’ and Chantal Haldorsen, a serial startup executive; Keidan has certainly done deals.

He started investing as an angel while still working at his own media company InsideHook, and began forming special purpose vehicles for larger investments as soon as he departed, about three years ago.

For the first year-and-a-half, Jones and Keidan worked on the SPVS, which allowed them to put together a portfolio that included Acorns, Compass, Digital Ocean and Sweetgreen — as well as startups like ZocDoc and the ketchup brand, Sir Kensington’s.

Since launching the fund, Keidan and his partners did 15 investments in the first year — including investments into . the consumer-focused Ro Health, which sells erectile dysfunction medication, supplements for hair growth, and more recently menopausal products for women.

Torch Capital has also backed the fintech company, Harness Wealth, sustainable cashmere manufacturer and retailer, Naadam; and Splendid Spoon, a vegan breakfast and lunch prepared food provider akin to Daily Harvest.

Keidan’s interest in investment stems from his experience in the music industry. It was a time when Spotify was just beginning to emerge and Napster had already shaken up the market. The creation of digital platforms enabled artists to connect more directly with the consumer in a way that traditional companies couldn’t understand.

Instead of embracing the technology labels and artists fought it, and the writing on the wall (that the labels and artists would lose) became clear… at least for Keidan. 

Following some advice from mentors including the super-producer and music mogul, Quincy Jones, Keidan went to business school. He graduated from Columbia in 2007 with an MBA and then did what all former music managers do after their MBA training — he joined McKinsey as a consultant. The stint at McKinsey led Keidan to Jack Welch’s online education venture and from there, Keidan started InsideHook.

Keidan grew the company to over 2 million subscribers in the five years since he helped launch the business in 2012. From that perch he saw the rise of direct to consumer startups and began making angel investments. His first was ZocDoc, his second, Sir Kensingtons (which sold to Unilever) and his third was the real estate investment platform, Compass.

That track record was enough to convince Chou, the Hong Kong billionaire that turned around Tommy Hilfiger and built Michael Kors into a multi-billion dollar powerhouse in the world of ready to wear fashion.

Like the rest of the venture industry, Keidan sees the technology tools that have transformed much of business are now remaking the ease and reach of building direct to consumer brands. Unlike most, Keidan has spent time working on the ground up to develop brands (artists and songwriting talent in the music business).

Everything that Torch Capital invests in has at least one eye on an end consumer, whether that’s direct consumer investments like Ro, Sweetgreen or the business surveying startup, Perksy.

Torch invests between $500,000 and $1 million in seed deals and will invest anywhere between $1 million to $3 million in Series A deals, according to Keidan.

“What makes a consumer company successful at scale is very different than enterprise software or consumer internet deals,” said Keidan. “VCs were having trouble getting their heads around this… [their companies] were overvalued too early… and when they couldn’t meet those goals they were doing things that were detrimental to the brand.”

Keidan thinks he has a better approach.

“Between InsideHook and watching companies grow and my own investments i’d seen the nuances of what it takes to get to scale,” he said.

Read more: https://techcrunch.com/2019/06/25/with-a-portfolio-including-acorns-sweetgreen-and-ro-health-torch-capital-raises-60m-for-its-first-fund/

As I’m sure everyone reading this knows, female-founded businesses receive just over 2 percent of venture capital on an annual basis. Most of those checks are written to early-stage startups. It’s extremely difficult for female founders to garner late-stage support, let alone cash $100 million checks.

Maybe that’s finally changing. This week, not one but two female-founded and led companies, Glossier and Rent The Runway, raised nine-figure rounds and cemented their status as unicorn companies. According to PitchBook data from 2018, there are only about 15 unicorn startups with female founders. Though I’m sure that number has increased in the last year, you get the point: There are hundreds of privately held billion-dollar companies and shockingly few of those have women founders (even fewer have female CEOs)…

Moving on…

YC Demo Days

I spent a good part of the week at San Francisco’s Pier 48 in a room full of vest-wearing investors. We listened to some 200 YC companies make their 120-second pitch and though it was a bit of a whirlwind, there were definitely some standouts. ICYMI: We wrote about each and every company that pitched on day 1 and day 2. If you’re looking for the inside scoop on the companies that forwent demo day and raised rounds, or were acquired, before hitting the stage, we’ve got that too.

IPO corner

Lyft: This week, Lyft set the terms for its highly-anticipated initial public offering, expected to be completed next week. The company will charge between $62 and $68 per share, raising more than $2 billion at a valuation of ~$23 billion. We previously reported its initial market cap would be around $18.5 billion, but that was before we knew that Lyft’s IPO was already oversubscribed. Here’s a little more background on the Lyft IPO for those interested.

Uber: The global ride-hailing business flew a little more under the radar this week than last week, but still managed to grab a few headlines. The company has decided to sell its stock on the New York Stock Exchange, which is the least surprising IPO development of 2019, considering its key U.S. competitor, Lyft, has been working with the Nasdaq on its IPO. Uber is expected to unveil its S-1 in April.

Ben Silbermann, co-founder and CEO of Pinterest, at TechCrunch Disrupt SF 2017.

Pinterest: Pinterest, the nearly decade-old visual search engine, unveiled its S-1 on Friday, one of the final steps ahead of its NYSE IPO, expected in April. The $12.3 billion company, which will trade under the ticker symbol “PINS,” posted revenue of $755.9 million in the year ending December 31, 2018, up from $472.8 million in 2017. It has roughly doubled its monthly active user count since early 2016, hitting 265 million last year. The company’s net loss, meanwhile, shrank to $62.9 million in 2018 from $130 million in 2017.

Zoom: Not necessarily the buzziest of companies, but its S-1 filing, published Friday, stands out for one important reason: Zoom is profitable! I know, what insanity! Anyway, the startup is going public on the Nasdaq as soon as next month after raising about $150 million in venture capital funding. The full deets are here.

Seed money

General Catalyst, a well-known venture capital firm, is diving more seriously into the business of funding seed-stage business. The firm, which has investments in Warby Parker, Oscar and Stripe, announced earlier this week its plan to invest at least $25 million each year in nascent teams.

Deal of the week

Earlier this week, Opendoor, the SoftBank -backed real estate startup, filed paperwork to raise even more money. According to TechCrunch’s Ingrid Lunden, the business is planning to raise up to $200 million at a valuation of roughly $3.7 billion. It’s possible this is a Series E extension; after all, the company raised its $400 million Series E only six months ago. Backers of OpenDoor include the usual suspects: Andreessen Horowitz, Coatue, General Atlantic, GV, Initialized Capital, Khosla Ventures, NEA and Norwest Venture Partners.

Startup capital

Backstage Capital founder and managing partner Arlan Hamilton, center.

Debate

Axios’ Dan Primack and Kia Kokalitcheva published a report this week revealing Backstage Capital hadn’t raised its debut fund in total. Backstage founder Arlan Hamilton was quick to point out that she had been honest about the challenges of fundraising during various speaking engagements, and even on the Gimlet “Startup” podcast, which featured her in its latest season. A Twitter debate ensued and later, Hamilton announced she was stepping down as CEO of Backstage Studio, the operations arm of the venture fund, to focus on raising capital and amplifying founders. TechCrunch’s Megan Rose Dickey has the full story.

Pro rata rights

This week, TechCrunch’s Connie Loizos revisited a long-held debate: Pro rata rights, or the right of an earlier investor in a company to maintain the percentage that he or she (or their venture firm) owns as that company matures and takes on more funding. Here’s why pro rata rights matter (at least, to VCs).

#Equitypod

If you enjoy this newsletter, be sure to check out TechCrunch’s venture-focused podcast, Equity. In this week’s episode, available here, Crunchbase News editor-in-chief Alex Wilhelm and I chat about Glossier, Rent The Runway and YC Demo Days. Then, in a special Equity Shot, we unpack the numbers behind the Pinterest and Zoom IPO filings.

Want more TechCrunch newsletters? Sign up here.

Read more: https://techcrunch.com/2019/03/23/startups-weekly-a-much-needed-unicorn-ipo-update/

Back in May, as part of a settlement, Spotify agreed to pay more than $112 million to clean up some copyright problems. Even for a service with millions of users, that had to leave a mark. No one wants to be dragged into court all the time, not even bold, disruptive technology start-ups.

On October 11th, the President signed the Hatch-Goodlatte Music Modernization Act (the “Act”, or “MMA”). The MMA goes back, legislatively, to at least 2013, when Chairman Goodlatte (R-VA) announced that, as Chairman of the House Judiciary Committee, he planned to conduct a “comprehensive” review of issues in US copyright law. Ranking Member Jerry Nadler (D-NY) was also deeply involved in this process, as were Senators Hatch (R-UT) Leahy (D-VT), and Wyden (D-OR). But this legislation didn’t fall from the sky; far from it.

After many hearings, several “roadshow” panels around the country, and a couple of elections, in early 2018 Goodlatte announced his intent to move forward on addressing several looming issues in music copyright before his planned retirement from Congress at the end of his current term (January 2019).  With that deadline in place, the push was on, and through the spring and summer, the House Judiciary Committee and their colleagues in the Senate worked to complete the text of the legislation and move it through to process. By late September, the House and Senate versions had been reconciled and the bill moved to the President’s desk.

What’s all this about streaming?

As enacted, the Act instantiates several changes to music copyright in the US, especially as regards streaming music services. What does “streaming” refer to in this context? Basically, it occurs when a provider makes music available to listeners, over the internet, without creating a downloadable or storable copy: “Streaming differs from downloads in that no copy of the music is saved to your hard drive.”

“It’s all about the Benjamins.”

One part, by far the largest change in terms of money, provides that a new royalty regime be created for digital streaming of musical works, e.g. by services like Spotify and Apple Music. Pre-1972 recordings — and the creators involved in making them (including, for the first time, for audio engineers, studio mixers and record producers) — are also brought under this royalty umbrella.

These are significant, generally beneficial results for a piece of legislation. But to make this revenue bounty fully effective, a to-be-created licensing entity will have to be set up with the ability to first collect, and then distribute, the money. Think “ASCAP/BMI for streaming.” This new non-profit will be the first such “collective licensing” copyright organization set up in the US in quite some time.

Collective Licensing: It’s not “Money for Nothing”, right?

What do we mean by “collective licensing” in this context, and how will this new organization be created and organized to engage in it? Collective licensing is primarily an economically efficient mechanism for (A) gathering up monies due for certain uses of works under copyright– in this case, digital streaming of musical recordings, and (B) distributing the royalty checks back to the rights-holding parties ( e.g. recording artists, their estates in some cases, and record labels).  Generally speaking, in collective licensing:

 “…rights holders collect money that would otherwise be in tiny little bits that they could not afford to collect, and in that way they are able to protect their copyright rights. On the flip side, substantial users of lots of other people’s copyrighted materials are prepared to pay for it, as long as the transaction costs are not extreme.”

—Fred Haber, VP and Corporate Counsel, Copyright Clearance Center

The Act envisions the new organization as setting up and implementing a new, extensive —and, publicly accessible —database of musical works and the rights attached to them. Nothing quite like this is currently available, although resources like SONY’s Gracenote suggest a good start along those lines. After it is set up and the initial database has a sufficient number of records, the new collective licensing agency will then get down to the business of offering licenses:

“…a blanket statutory license administered by a nonprofit mechanical licensing collective. This collective will collect and distribute royalties, work to identify songs and their owners for payment, and maintain a comprehensive, publicly accessible database for music ownership information.”

— Regan A. Smith, General Counsel and Associate Register of Copyrights

(AP Photo) The Liverpool beat group The Beatles, with John Lennon, Paul McCartney, George Harrison and Ringo Starr, take it easy resting their feet on a table, during a break in rehearsals for the Royal variety show at the Prince of Wales Theater, London, England, November 4, 1963. (AP Photo)

You “Can’t Buy Me Love”, so who is all this going to benefit?

In theory, the listening public should be the primary beneficiary. More music available through digital streaming services means more exposure —and potentially more money —for recording artists. For students of music, the new database of recorded works and licenses will serve to clarify who is (or was) responsible for what. Another public benefit will be fewer actions on digital streaming issues clogging up the courts.

There’s an interesting wrinkle in the Act providing for the otherwise authorized use of “orphaned” musical works such that these can now be played in library or archival (i.e. non-profit) contexts. “Orphan works” are those which may still protected under copyright, but for which the legitimate rights holders are unknown, and, sometimes, undiscoverable. This is the first implementation of orphan works authorization in US copyright law.  Cultural services – like Open Culture – can look forward to being able to stream more musical works without incurring risk or hindrance (provided that the proper forms are filled out) and this implies that some great music is now more likely to find new audiences and thereby be preserved for posterity. Even the Electronic Frontier Foundation (EFF), generally no great fan of new copyright legislation, finds something to like in the Act.

In the land of copyright wonks, and in another line of infringement suits, this resolution of the copyright status of musical recordings released before 1972 seems, in my opinion, fair and workable. In order to accomplish that, the Act also had to address the matter of the duration of these new copyright protections, which is always (post-1998) a touchy subject:

  • For recordings first published before 1923, the additional time period ends on December 31, 2021.
  • For recordings created between 1923-1946, the additional time period is 5 years after the general 95-year term.
  • For recordings created between 1947-1956, the additional time period is 15 years after the general 95-year term.
  • For works first published between 1957-February 15, 1972 the additional time period ends on February 15, 2067.

(Source: US Copyright Office)

 (Photo by Theo Wargo/Getty Images for Live Nation)

Money (That’s What I Want – and lots and lots of listeners, too.)

For the digital music services themselves, this statutory or ‘blanket’ license arrangement should mean fewer infringement actions being brought; this might even help their prospects for investment and encourage  new and more innovative services to come into the mix.

“And, in The End…”

This new legislation, now the law of the land, extends the history of American copyright law in new and substantial ways. Its actual implementation is only now beginning. Although five years might seem like a lifetime in popular culture, in politics it amounts to several eons. And let’s not lose sight of the fact that the industry got over its perceived short-term self-interests enough, this time, to agree to support something that Congress could pass. That’s rare enough to take note of and applaud.

This law lacks perfection, as all laws do. The licensing regime it envisions will not satisfy everyone, but every constituent, every stakeholder, got something. From the perspective of right now, chances seem good that, a few years from now, the achievement of the Hatch-Goodlatte Music Modernization Act will be viewed as a net positive for creators of music, for the distributors of music, for scholars, fans of ‘open culture’, and for the listening public. In copyright, you can’t do better than that.

Read more: https://techcrunch.com/2018/11/03/a-long-and-winding-road-to-new-copyright-legislation/

3D Hubs, like MakeXYZ, was a community-based 3D printing service that let anyone with a printer sell their prints online. Founded in the heyday of the 3D printing revolution, the service let thousands of makers gather a little cash for making and mailing prints on their home 3D printers.

Now, however, the company has moved to a model in which its high-end partners will be manufacturing plastic, metal, and injection molded parts for customers willing to pay extra for a professional print.

“Indeed, more focus on high end printers run by professional companies,” said founder Brian Garret. “So a smaller pool of manufacturing locations (still hundreds around the world), but with more control on standardized quality and repeatability. Our software takes care of the sourcing, so companies order with 3D Hubs directly.”

Not everyone is happy with the decision. 3DPrint.come editor Joris Peels saw the value in a solid, dedicated community of hobbyists in the 3D space. The decision to move away from hobbyist printers, wrote Peels, “has confused many.”

“The value of 3DHubs is in its community; the community gives it granular local presence and a barrier to entry. Now it is just like any 3D printing service upstart and will lose its community entirely. I’ve always liked 3DHubs, although I have been very skeptical of their Trends Report I like the company and what they’re doing. I liked the idealism coupled with business,” he wrote.

The community, for its part, is angry.

The move will happen on October 1 when all prints will be completed by Fulfilled by 3D Hubs partners, dedicated merchants who will offer “source parts for larger, high value engineering projects.” The company wrote that during the early hobbyist days the “platform at that time was very much free-form, with the goal of serving as many, mostly one-off, custom maker projects as possible.”

This slow movement from hobbyist 3D printing to professional parts manufacturer is not surprising or unexpected, but it is jarring. The 3D printing community is small, vociferous, and dedicated to the technology. In the early days, when 3D printers were rare, it was tempting to buy a mid-price printer and become a small, one-person shop online. Now, with the availability of commodity printers that cost less than some paper printers, the novelty and utility of a low-resolution print has fallen considerably.

3D printing never fulfilled its promise in the home and small office. A one-off print can save some of us a trip to the machine shop or music store but in practice home 3D printing has been a bust.

Like most open source technologies that went commercial, the dedicated zealots will complain and the established players will pivot into profitability. It ruffles feathers, to be sure, but that’s how these things work. To paraphrase the White Stripes, “Well, you’re in your little room and you’re printing something good/ But if it’s really good, you’re gonna need a bigger room/ And when you’re in the bigger room, you might not know what to do/ You might have to think of how you got started sitting in your little room.”

Read more: https://techcrunch.com/2018/09/14/3dhubs-once-a-community-3d-printing-service-is-now-sourcing-all-3d-prints-internally/