LA Has Enough Parking Spots for All of Manhattan. This Startup Wants to Make Them Easier to Find.

Elijah Chiland
Elijah Chiland is a freelance reporter based in Los Angeles.
A parking garage with some empty spaces.
Photo by Patryk Sikora on Unsplash

Though Los Angeles drivers might spend hours per week searching for parking, the truth is that the city actually has an abundance of parking spaces. In fact, according to one study, L.A. has enough parking spaces to cover all of Manhattan.

Alex Israel, CEO of Venice-based Metropolis Technologies, decided it was time to make use of more of that space for purposes other than storage of inactive vehicles. It’s perhaps a surprising point of view, considering Metropolis is the developer of an automated payment platform for parking facilities.

However, Israel said the technology offered by Metropolis will make parking more efficient, eliminating the need for excess spaces that go unused for most of the day.

“[Parking] is never the highest and best use for land,” said Israel. “Lots of that land can be repatriated by the community, for parks and for community centers.”

Israel said space that remains in use for parking could in the future become much more actively utilized, as more electric and autonomous vehicles and micromobility devices hit the market.

“Think about the cleaning, servicing, charging and deployment [of vehicles],” he said. “Someone will need to convert the infrastructure to empower all future modes of mobility.”

Rethinking Parking's Use of Space

How does Metropolis fit in with all this? The company’s technology allows drivers to access parking facilities without obtaining a ticket or paying at a booth or kiosk. Vehicles registered in the company’s database can simply go in and out; the owner’s credit card is charged automatically.

For most users, the system’s appeal will mainly be its convenience. But Israel said the real-time information gathering necessary to make the payment platform usable will be a tremendous asset to parking lot owners and operators, who can get a better sense of how to maximize the value of a given parking facility.

“We look at a [parking] facility and we say, ‘it’s only occupied 35% of the time; how do we fill it?’” said Israel. “Maybe we can deploy vehicle charging [stations] or micrologistics or the staging of vehicles for a delivery service.”

Israel said that parking lots and garages are ideal locations for such uses. A major obstacle to that vision is property owners, who currently have no way of knowing the capacity of specific lots in real time. With a database of parking structures constantly being updated with information about available space, Israel said Metropolis is in a position to facilitate more efficient uses of these facilities by sharing occupancy information with a wide range of potential users.

To that end, the company last month announced a partnership with Uber Technologies which will allow users of the Uber app to enter their license plate information in order to park at garages that employ Metropolis' platform.

Israel said Metropolis is pursuing similar arrangements with a wide range of partners—from scooter companies to delivery services—in order to ensure facilities are being used to maximum potential.

Pointing to studies showing that drivers cruising for parking constitute as many as one-third of all drivers on the road in urban areas, Israel said that making parking facilities more efficient and visible to car owners could also alleviate traffic congestion by making it easier and more convenient to pull into a lot or garage rather than circling around looking for street parking.

Democratizing Parking Data

Juan Matute, deputy director of the UCLA Institute of Transportation Studies, said the most straightforward way to cut down on congestion is by ensuring fewer cars are on the road in the first place. Still, he notes that new technology like that offered by Metropolis has a role to play in eliminating some of the most obvious and wasteful impracticalities associated with parking.

“These apps are addressing the issue where you only know about parking you can see,” said Matute.

In dense areas like downtown Los Angeles, a parking spot can feel impossible to locate. In fact, Matute said, parking in the area is abundant, but much of it is concealed in garages where pricing varies considerably.

“From the street you can’t see onto level five of a parking structure,” said Matute. “This contributes to a perception of scarcity. Even if 70% of spaces in a district were available, if all the on-street parking and the first floors of lots were full, it could make someone think ‘oh, there can’t be any parking'.”

If real-time occupancy data and pricing information from parking facilities was widely available, it could make drivers more likely to fill spots that are now underutilized due simply to the fact that drivers don’t know about them.

Matute said making parking facilities more convenient for drivers to access could also make it possible to convert more on-street parking to other uses, like outdoor dining, curbside pickup and delivery and bike and scooter storage.

“Those are great uses for on-street spaces,” said Matute. “The urban planner’s dream is to have all that in the curb zone, and put any car that’s staying more than 15 minutes off-street.”

In order for this to work in practice, however, parking and transportation apps must be able to offer a wealth of information to drivers, Matute said. For Metropolis, that means ensuring its platform is used in as many parking facilities as possible.

Israel said the company’s technology is already being used in close to 300 locations, and agreements are in place for it to be adopted at 600 facilities nationwide.

That’s far from ubiquitous, but the company only publicly launched in February, after spending a little over three years in stealth mode. With more than $60 million raised to date, Israel said the focus for the company is now on scaling up and expanding to new locations.

There may be some growing pains along the way. In November, Los Angeles Times columnist David Lazarus criticized the company’s user data collection policies outlined in its app and speculated that the startup’s eventual aim could be to sell valuable user location and browsing data to advertisers.

Israel said Metropolis collects user data necessary for the functionality of its service and that drivers do not have to download the app in order to park at facilities using its payment platform. The company does not sell user data to advertisers and has no plans to do so, he added.

Instead, said Israel, Metropolis generates revenue through contracts with parking lot owners and through collection of service fees charged at some facilities.

Israel said this will continue to be the company’s business model for the foreseeable future, as it looks to continue bringing new facilities into its system in the year ahead.

“This has been a massive year for growth,” said Israel. “It’s really such an exciting time to be part of the mobility landscape.”

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Behind Her Empire: ComplYant Founder and CEO Shiloh Johnson on Helping Small Businesses

Yasmin Nouri

Yasmin is the host of the "Behind Her Empire" podcast, focused on highlighting self-made women leaders and entrepreneurs and how they tackle their career, money, family and life.

Each episode covers their unique hero's journey and what it really takes to build an empire with key lessons learned along the way. The goal of the series is to empower you to see what's possible & inspire you to create financial freedom in your own life.

Behind Her Empire: ComplYant Founder and CEO Shiloh Johnson on Helping Small Businesses

On this episode of Behind Her Empire, ComplYant founder and CEO Shiloh Johnson discusses her journey to building a multimillion dollar business and making knowledge of taxes more accessible.

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How Token and Tixr Plan To Take on Ticketmaster in L.A.

Andria Moore

Andria is the Social and Engagement Editor for dot.LA. She previously covered internet trends and pop culture for BuzzFeed, and has written for Insider, The Washington Post and the Motion Picture Association. She obtained her bachelor's in journalism from Auburn University and an M.S. in digital audience strategy from Arizona State University. In her free time, Andria can be found roaming LA's incredible food scene or lounging at the beach.

How Token and Tixr Plan To Take on Ticketmaster in L.A.
Evan Xie

When Taylor Swift announced her ‘Eras’ tour back in November, all hell broke loose.

Hundreds of thousands of dedicated Swifties — many of whom were verified for the presale — were disappointed when Ticketmaster failed to secure them tickets, or even allow them to peruse ticketing options.

But the Taylor Swift fiasco is just one of the latest in a long line of complaints against the ticketing behemoth. Ticketmaster has dominated the event and concert space since its merger with Live Nation in 2010 with very few challengers — until now.

Adam Jones, founder and CEO of Token, a fan-first commerce platform for events, said he has the platform and the tech ready to take it on. First and foremost, with Token, Jones is creating a system where there are no queues. In other words, fans know immediately which events are sold out and where.

“We come in very fortunate to have a modern, scalable tech stack that's not going to have all these outages or things being down,” Jones said. “That's step one. The other thing is we’re being aggressively transparent about what we’re doing and how we’re doing it. So with the Taylor Swift thing…you would know in real time if you actually have a chance of getting the tickets.”

Here’s how it works: Users register for Token’s app and then purchase tickets to either an in-person event, or an event in the metaverse through Animal Concerts. The purchased ticket automatically shows up in the form of a mintable NFT, which can then be used toward merchandise purchases, other ticketed events or, Adams’s hope for the future — external rewards like airline travel. The more active a user is on the site, the more valuable their NFT becomes.

Ticketmaster has dominated the music industry for so long because of its association with big name artists. To compete, Token is working on gaining access to their own slew of popular artists. They recently entered into a partnership with Animal Concerts, a live and non-live event experiences platform that houses artists like Alicia Keys, Snoop Dogg and Robin Thicke.

“You'll see they do all the metaverse side of the house,” Jones said. “And we're going to be the [real-life] web3 sides of the house.”

In addition, Token prides itself on working with the artists selling on their platform to set up the best system for their fanbase, devoid of hefty prices and additional fees — something Ticketmaster users have often complained about. Jones believes where Ticketmaster fails, Token thrives. The app incentivizes users to share more data about their interests, venues and artists by operating on a kind of points system in the form of mintable NFTs.

“We can actually take the dataset and say there’s 100 million people in the globe that love Taylor Swift, so imagine she’s going on tour and we ask [the user], ‘Would you go to see her in Detroit?’ And imagine this place has 30,000 seats, but 100,000 people clicked ‘yes,’” he explained. “So you can actually inform the user before anything even happens, right? About what their options are and where to get it.”

Tixr, a Santa-Monica based ticketing app, was founded on the idea that modern ticketing platforms were “living in the legacy of the past.” They plan to attract users by offering them exclusive access to ticketed events that aren’t in Ticketmaster’s registry.

“It melts commerce that's beyond ticketing…to allow fans to experience and purchase things that don't necessarily have to do with tickets,” said Tixr CEO and Founder Robert Davari. “So merchandise, and experiences, and hospitality and stuff like that are all elegantly melded into this one, content driven interface.”

Tixr sells tickets to exclusive concerts like a Tyga performance at a night club in Arizona, general in-person festivals like ComplexCon, and partners with local vendors like The Acura Grand Prix of Long Beach to sell tickets to the races. Plus, Davari said it’s equipped to handle high-demand, so customers aren’t spending hours waiting in digital queues.

Like Token, Tixr has also found success with a rewards program — in the form of fan marketing.

“There's nothing more powerful in the core of any event, brand, any live entertainment, [than] the community behind it,” Davari said. “So we build technology to empower those fans and to reward them for bringing their friends and spreading the word.”

Basically, if a user gets a friend to purchase tickets to an event, then the original user gets rewarded in the form of discounts or upgrades.

Coupled with their platforms’ ability to handle high-demand events, both Jones and Davari believe their platforms have what it takes to take on Ticketmaster. Expansion into the metaverse, they think, will also help even the playing field.

“So imagine you can't go to Taylor Swift,” Jones said. “What if you could purchase an exclusive to actually go to that exact same show over the metaverse? An artist’s whole world can expand past the stage itself.”

With the way ticketing for events works now, obviously not everyone always gets the exact price, venue or date they want. There are “winners and losers.” Jones’s hope is that by expanding beyond in-person events, there can be more winners.

“If there’s 100,000 people who want to go to one show and there's 37,000 seats, 70,000 are out,” he said. “You can't fight that. But what we can do is start to give them other opportunities to do things in a different way and actually still participate.”

Jones and Davari both teased that their platforms have some exciting developments in the works, but for now both Token and Tixr are set on making their own space within the industry.

“We simply want to advance this industry and make it more efficient and more pleasurable for fans to buy,” Davari said. “That's it.”

Here’s Why Streaming Looks More and More Like Cable

Lon Harris
Lon Harris is a contributor to dot.LA. His work has also appeared on ScreenJunkies, RottenTomatoes and Inside Streaming.
Here’s Why Streaming Looks More and More Like Cable
Evan Xie

The original dream of streaming was all of the content you love, easily accessible on your TV or computer at any time, at a reasonable price. Sadly, Hollywood and Silicon Valley have come together over the last decade or so to recognize that this isn’t really economically viable. Instead, the streaming marketplace is slowly transforming into something approximating Cable Television But Online.

It’s very expensive to make the kinds of shows that generate the kind of enthusiasm and excitement from global audiences that drives the growth of streaming platforms. For every international hit like “Squid Game” or “Money Heist,” Netflix produced dozens of other shows whose titles you have definitely forgotten about.

The marketplace for new TV has become so massively competitive, and the streaming landscape so oversaturated, even relatively popular shows with passionate fanbases that generate real enthusiasm and acclaim from critics often struggle to survive. Disney+ canceled Luscasfilm’s “Willow” after just one season this week, despite being based on a hit Ron Howard film and receiving an 83% critics score on Rotten Tomatoes. Amazon dropped the mystery drama “Three Pines” after one season as well this week, which starred Alfred Molina, also received positive reviews, and is based on a popular series of detective novels.

Even the new season of “The Mandalorian” is off to a sluggish start compared to its previous two Disney+ seasons, and Pedro Pascal is basically the most popular person in America right now.

Now that major players like Netflix, Disney+, and WB Discovery’s HBO Max have entered most of the big international markets, and bombarded consumers there with marketing and promotional efforts, onboarding of new subscribers inevitably has slowed. Combine that with inflation and other economic concerns, and you have a recipe for austerity and belt-tightening among the big streamers that’s virtually guaranteed to turn the smorgasbord of Peak TV into a more conservative a la carte offering. Lots of stuff you like, sure, but in smaller portions.

While Netflix once made its famed billion-dollar mega-deals with top-name creators, now it balks when writer/director Nancy Meyers (“It’s Complicated,” “The Holiday”) asks for $150 million to pay her cast of A-list actors. Her latest romantic comedy will likely move over to Warner Bros., which can open the film in theaters and hopefully recoup Scarlett Johansson and Michael Fassbender’s salaries rather than just spending the money and hoping it lingers longer in the public consciousness than “The Gray Man.”

CNET did the math last month and determined that it’s still cheaper to choose a few subscription streaming services like Netflix and Amazon Prime over a conventional cable TV package by an average of about $30 per month (provided you don’t include the cost of internet service itself). But that means picking and choosing your favorite platforms, as once you start adding all the major offerings out there, the prices add up quickly. (And those are just the biggest services from major Hollywood studios and media companies, let alone smaller, more specialized offerings.) Any kind of cable replacement or live TV streaming platform makes the cost essentially comparable to an old-school cable TV package, around $100 a month or more.

So called FAST, or Free Ad-supported Streaming TV services, have become a popular alternative to paid streaming platforms, with Fox’s Tubi making its first-ever appearance on Nielsen’s monthly platform rankings just last month. (It’s now more popular than the first FAST service to appear on the chart, Paramount Global’s Pluto TV.) According to Nielsen, Tubi now accounts for around 1% of all TV viewing in the US, and its model of 24/7 themed channels supported by semi-frequent ad breaks couldn’t resemble cable television anymore if it tried.

Services like Tubi and Pluto stand to benefit significantly from the new streaming paradigm, and not just from fatigued consumers tired of paying for more content. Cast-off shows and films from bigger streamers like HBO Max often find their way to ad-supported platforms, where they can start bringing in revenue for their original studios and producers. The infamous HBO Max shows like “The Nevers” and “Westworld” that WBD controversially pulled from the HBO Max service can now be found on Tubi or The Roku Channel.

HBO Max’s recently-canceled reality dating series “FBoy Island” has also found a new home, but it’s not on any streaming platform. Season 3 will air on TV’s The CW, along with a new spinoff series called (wait for it) “FGirl Island.” So in at least some ways, “30 Rock” was right: technology really IS cyclical.