Zynga Contributed 15% of Facebook’s Revenue In Q1, Down From 19% A Year Ago |


Zynga and Facebook are ever gradually trying to separate from each other. It’s working — sort of?

Facebook said today that 15 percent of its revenue in the first quarter came from either advertising or payments tied to Zynga games.* That’s down from 19 percent during the same time a year earlier.

About 11 of the 15 percent in revenue was from the 30 percent revenue share Facebook takes from transactions in Zynga games on the platform or advertising that Zynga directly paid Facebook for. Another 4 percent comes from advertising shown alongside Zynga content.

Facebook continues to emphasize that any bad blood between the two companies could hurt financial results. Zynga recently overhauled its site as a web destination for gaming that it hopes will attract users away from the Facebook canvas. The social network is still powering payments for the site, however, meaning that Zynga is still paying Facebook its 30 percent share.

“Zynga may choose to try to migrate users from existing Facebook-integrated games to other websites or platforms,” Facebook said in an updated filing for an initial public offering. “We may fail to maintain good relations with Zynga or Zynga may decide to reduce or cease its investments in games on the Facebook Platform. If the use of Zynga games on our Platform declines for these or other reasons, our financial results may be adversely affected.”

Overall, Facebook’s payments and fees revenue is pretty much double what it was a year ago at $ 186 million, up from $ 94 million. It makes up 17.6 percent of Facebook’s overall revenue, up from 12.9 percent in the first quarter of last year. But this isn’t a perfect comparison since Facebook’s 30 percent revenue share for transactions on the canvas only became mandatory last July. Payments and fees revenue is basically flat on the quarter too.


*Note: There was a 12% figure that was widely reported a few months ago when Facebook first filed for an initial public offering. But that was Zynga’s share of Facebook’s revenue for all of 2011 and it excluded advertising bought by other companies that shows up alongside Zynga games.

Here’s the exact text if you want to read it yourself:

In 2011 and the first quarter of 2012, we estimate that up to 19% and 15% of our revenue, respectively, was derived from Payments processing fees from Zynga, direct advertising from Zynga, and revenue from third parties for ads shown on pages generated by Zynga apps. If Zynga does not maintain its level of engagement with our users or if we are unable to successfully maintain our relationship with Zynga, our financial results could be harmed.

In 2011 and the first quarter of 2012, Zynga directly accounted for approximately 12% and 11%, respectively, of our revenue, which was comprised of revenue derived from Payments processing fees related to Zynga’s sales of virtual goods and from direct advertising purchased by Zynga. Additionally, Zynga’s apps generate pages on which we display ads from other advertisers; for 2011 and the first quarter of 2012, we estimate that an additional approximately 7% and 4%, respectively, of our revenue was generated from the display of these ads. Zynga has recently launched games on its own website and on non-Facebook platforms, and Zynga may choose to try to migrate users from existing Facebook-integrated games to other websites or platforms. We may fail to maintain good relations with Zynga or Zynga may decide to reduce or cease its investments in games on the Facebook Platform. If the use of Zynga games on our Platform declines for these or other reasons, our financial results may be adversely affected.


Zynga’s 2012 Outlook: Traffic, Paying Users, Bookings Are Headed Up |



Zynga’s first earnings release today makes the social game developer’s business look notably stronger than it had when the company went public in December. Its traffic, paying user base, and projected bookings are all headed into positive territory, whereas these numbers had been flat or falling towards the end of last year.

Bookings, the short-term measure of when the company sells a virtual good or other item, were already up last quarter. But Zynga says in the release that more growth is on the way — a year-over-year increase of between 16% and 25% in 2012, to between $ 1.35 billion and $ 1.45 billion. “We expect that growth will be weighted towards the back-half of the year with slower sequential growth in the first half of the year,” according to the release, although the reasoning isn’t explained.

That’s a bit surprising considering that the company has invested heavily in launching and marketing a string of new titles over the last four months or so — these games should be driving bookings up now, not in half a year. Maybe Zynga knows something about what’s happening on Facebook, Apple’s iTunes App Store and its other platforms, that it’s not talking about? Or maybe it is planning something else that’ll make a big positive difference, like the launch of its long-rumored standalone gaming portal?

[Update: Zynga executives said on the call today that, generally, they see older games make more money over times as serious users get more committed — that is, spending more. Also, like I guessed, they hinted that the “Project Z” platform is still in the works, and will be launching at some point.]

Even if the first and second quarters of this year aren’t as exciting, investors should still look for bookings increases when the numbers come out for those quarters. Zynga says that its paying users grew from 2.6 million to 2.9 million over the fourth quarter, which is part of a long-term trend in the industry — everyone is gradually figuring out how to lure more users to pay, even though only a fraction of them currently do. For Zynga, the growth in paying users was no doubt aided by its launches and traffic growth during the quarter — as I noted earlier today, the company has managed to increase its daily active user count significantly in recent months. As of the end of 2011 it was up from 48 million a year ago to 54 million. As of today, it’s past 58 million, according to AppData. Daily active usage tends to correlate with paying users, because the more often you’re playing a game the more often you’re going to want to pay.

[Top photo via VentureBeat.]

Zynga’s Unredacted Response To EA: Uh, You Weren’t Suppose To Sue Us Over These Hires |

zynga logo

Earlier today, Zynga filed a scathing legal response to EA’s copyright lawsuit — with a few sensitive areas redacted. However, it turns out that TechCrunch readers are even more awesome than I expected, because one of them figured out how to un-redact the document and sent us the full countercomplaint, sans black bars.

So what was missing? Basically, more details about supposed agreements between Zynga and EA, and allegations that EA has violated the terms of those agreements.

If you read our earlier coverage, you may remember that in addition to responding to EA’s accusations that it had stolen copyright-protected elements from The Sims Social, Zynga filed a counterclaim accusing EA of anti-competitive behavior. Specifically, the counterclaim alleged that EA tried to convince Zynga to enter into a no-hire agreement, and threatened to sue Zynga if not.

The counterclaim also states that during the course of those discussions, Zynga reached multiple settlement agreements with EA over the hiring of EA executives. In the version sent to reporters, the details of the settlements were redacted. We still don’t have a copy of the settlements themeslves, but the big one seems to be summarized in the now-unredacted portions of the agreement: According to Zynga, it agreed not to solicit EA employees in limited circumstances, in exchange for EA’s “release of claims,” i.e, agreement not to sue Zynga over the hires. Here’s how Zynga describes the agreement (previously redacted portions in bold):

Even though Zynga was confident that it had done nothing wrong, Zynga agreed to enter into a settlement agreement that included lawful, appropriate, and extremely narrow non- solicit restrictions in the context of a non-monetary settlement agreement that included a release of claims as well as a means to address any related dispute that might arise.

Later, in the now-unredacted sections, Zynga alleges that EA violated by “bringing suit against Zynga for purported claims covered by the releases set forth in those agreements” and “failing to comply with the mandatory dispute resolution provisions set forth in those agreements.”

You can read the unredacted counterclaim below.

Counterclaim Unredacted

TechCrunch » Social

YC-Backed Photo Sharing Service PicPlum Gets A Revamp; Mobile App & API Are Next –

Pic Plum


PicPlum, the Y Combinator-backed photo-sharing and printing startup that debuted last summer, is rolling out a major upgrade today. The focus, for the most part, has been on an improved user experience, offering everything from minor tweaks like address autocompletion, to new product offerings like more print sizes. But as a regular PicPlum user, I’m more excited about what they’re working on next: a mobile application and API that will allow any other developers to offer “print photos” from their camera or photo-sharing application.

First of all, a confession: I’ve been using PicPlum since Day One, and I don’t think I’ve ever skipped a month. But I never use it from the web anymore, so all of today’s changes don’t impact my everyday experience that much. To catch you up: PicPlum is a photo printing service, in the same space as something like Shutterfly or Snapfish, for example, and admittedly, a more pricey one. While PicPlum touts its high quality prints, the real reason for the extra cents that makes it worthwhile (in my humble opinion) is that it’s dead simple and convenient to use. I honestly can’t say the same about the competition.

For me, “usage” means emailing select photos from my iPhone’s Camera Roll to photos@picplum.com. Afterwards, everyone I’ve configured to receive them will be automatically shipped photo prints and/or a batch via email.


But today’s upgrade will entice those who prefer to work with PicPlum on the web. Fro starters, they’ve made it easier for new users to get going – you don’t have to sign up before dragging-and-dropping your photos into the box on the homepage, for example. You add your photos, then add recipients via Facebook or optionally sign up for the service.


Also new today are additional photo sizes: 4×6, 5×7 and 8×10′s are available, with the option to print text and dates on the back. In terms of features focused on ease of use, the service now completes typed-in addresses using Google’s Places API, fixes obvious typos (Gmial becomes Gmail, e.g.), and it helps you track down mailing addresses you don’t know with a feature called “ask for address.” You enter in the email address for the person, and PicPlum sends out a message to them telling them you would like to ship them photos, and provides a form where they can enter their address. When complete, the service automatically ships the photos to them, without any extra involvement needed by you.


However, one of the more notable features in today’s upgrade are new “sharing” pages. You can now configure a customized email address which everyone at an event can use (baby showers, family reunions, weddings, etc.). All the photos are mailed into that address, and participants can later view all the photos everyone shared from the PicPlum website, with the option to print the photos they want to keep.


The company has also added the ability to send a customized greeting alongside the printed photos. They’ll soon expand this feature with themes, so you’ll be able to use this for your holiday cards, for instance.


Combined, all these new features make for a completely revamped online service today. However, what’s more exciting is what’s still in the works: a mobile photo-taking app with the ability to share to PicPlum and elsewhere on the web, which will hopefully make PicPlum even easier to use from mobile, since the iPhone limits you to five photos per message. Another item on the way is the PicPlum API, which will allow third-party developers to integrate photo printing services into their app  – and even generate some income by doing so, unless they want to go white label.

While PicPlum isn’t disclosing user numbers, co-founder Paul Stamatiou (who created PicPlum with Akshay Dodeja), says that 90% of its top users are new parents or families sending in 15-20 photos per week (guilty on all counts). Engagement is high with users returning monthly, and despite PicPlum not having a mobile app, 30% of the photos shared come from mobile devices.

You can try out the new PicPlum from here.

Zynga Accused Of Ripping Off Another Competitor’s Game –


Zynga Bingo4

Last week, the developers at NimbleBit (makers of iOS Game of the Year, Tiny Tower) accused Zynga of copying them with its new game, Dream Heights. Now, it’s happening again. This time, the accusation comes from Buffalo Studios, which says that the gaming giant copied its flagship title Bingo Blitz with its launch of Zynga Bingo.

The news, reported first by VentureBeat, involves accusations from Buffalo Studios that Zynga’s newest title involves “striking similarities” in terms of its graphics, layout and game play with its own Bingo Blitz. The company also released an infographic which (sarcastically) began: ”Hello Zynga. We are moved that your new game was so inspired by our innovative product, BINGO Blitz…,” before continuing on with a serious of screenshots showing examples of the similarities in question.

However, unlike the situation with NimbleBit, it doesn’t appear that Zynga first attempted to acquire Buffalo Studios prior to the launch of the new title.

Bingo Blitz claims to have over one million daily active users, according to the infographic, and has been “liked” nearly 2.5 million times.

While it’s notable that the high-profile Zynga is the company being targeted here in terms of stealing its “inspiration,” (especially since Zynga itself once targeted its own copycats via lawsuits), game developers ripping off each others’ work seems to be the new normal for the industry. Lawyers, start your engines. If a company as large as Zynga is playing dirty, there’s bound to be lawsuits aplenty ahead.

Image credit: Buffalo Studios, via VentureBeat

YouTube alienates amateur users by courting pros |


After struggling for years, in late 2010, Driving Sports TV, a scrappy, two-person video production outfit led by Ryan Douthit, finally began supporting itself with advertising income from YouTube.

It didn’t matter that the channel’s production set was simply a green screen in Douthit’s cramped garage in a leafy Seattle suburb; Driving Sports TV’s revenues were roaring like the rally car engines it featured.

Achieving self-sufficiency on YouTube was Douthit’s dream. Then it became a nightmare.

Over the past year, Driving Sports TV’s popularity and revenues have plummeted as much as 90%, Douthit said, as viewers abandoned him for slicker, more professional and better-marketed fare that’s suddenly streaming onto YouTube.

Douthit is among thousands of amateur video producers who helped Google-owned YouTube become the Internet’s most popular video-sharing site.

But YouTube’s thriving amateur core now feels squeezed out by the site’s sweeping transformation from user-generated clips to more professionally produced content, posing a potential dilemma for Google’s long-term ambitions in online video.

“I drank their Kool-Aid,” Douthit said. “I believed their whole pitch, that anybody with talent and drive could make a living out of YouTube.”

A year ago this month, YouTube embarked on an initiative to invest hundreds of millions of dollars to acquire original, professional content in an effort to compete for ad dollars against traditional television networks, digital streaming services such as Netflix and rival Internet companies like AOL and Yahoo.

Tom Hanks, Amy Poehler and other big-name talent are now backing YouTube projects, while Madonna, Jay-Z and Ashton Kutcher have signed up to curate YouTube “channels,” bringing hierarchy to an ecosystem that looks more like Hollywood by the day.

The influx of cash, celebrity and structure has left many small “YouTubers” – the bedroom pundits and aspiring guitar heroes who helped make YouTube popular – feeling alienated and shunted aside.

In July at Vidcon, an annual conference for the YouTube creator community, Jim Louderback, the chief executive of Revision3, a well-known digital video network recently purchased by Discovery Communications, said disenchanted YouTubers were fleeing for other platforms. As he spoke on stage, a slide presentation behind him showed a picture of rats scrambling off of a ship named “YouTube.”

Louderback’s presentation proved prescient – in the past year, as their frustration has mounted, some young YouTubers have begun uploading content elsewhere, a potentially damaging prospect for Google.

In an interview with Reuters at Revision3’s 4,000-square foot studio space in an industrial building in San Francisco, Louderback said many successful YouTubers were exploring how to stream video in their own apps, totally independent of YouTube.

He has poached some of YouTube’s biggest stars himself, signing them to Revision3’s talent roster and shifting some of their videos onto its own website.

“If you’ve got great content, you can find an audience anywhere,” he said.


YouTube executives say they’ve made a concerted effort to keep all the site’s content-providers happy. However, there is little doubt that the move to more professionally produced content is proving good for business.

“Our big advertisers like the path that YouTube has taken,” said Andy Chapman, head of digital investment at Mindshare, an ad agency that counts Unilever, Kimberly Clark and LG Electronics among its clients. “A number of clients say this looks and feels like the direction the market is going.”

Wall Street analysts like Citigroup’s Mark Mahaney say YouTube already contributes about $3.5 billion to Google’s top line every year, a figure that is expected to climb.

In the U.S. market, for instance, total revenue from digital video advertising is expected to grow from $2.3 billion this year to about $7 billion to 2015, when roughly 40% of the U.S. population will be watching TV online, according to advertising industry analyst eMarketer.

In recent years, YouTube has shared ad revenues with its content creators, based on how many views their videos get. But tensions between the company and video creators came to a head in March when YouTube, which says its streams more than 4 billion videos per day, changed an algorithm that governed which clips were recommended to viewers.

The tweaks, which lowered the number of overall views across the site but boosted the average time viewers spent in each video, prompted many of YouTube’s amateur providers to cry foul, arguing that the move favoured longer, professionally produced content. A group of young users started circulating the #saveyoutube hashtag on Twitter and, in May, when a Google employee sought feedback on the situation on the Google+ social network, she received more than 150 responses from users, many concerned and some bitterly angry.

Douthit, the producer of Driving Sports TV, said he was stunned recently when he saw YouTube promoting Drive – a competing professional program that received investment funding from the site – in ad slots shown before his own videos load.

“It felt like being kicked,” he said. “They’re forcing independent producers like us to go other routes.”

Douthit has since sold his segments to a TV network in South Africa and uploaded segments to Apple Inc’s iTunes, where, he said, they were downloaded 800,000 times last month.

For its part, YouTube executives say they recognize the importance of their “community” and that they are working hard to cater to both the “heartland, heritage YouTube” and the name-brand content streaming in from Hollywood.

“Any time you have a lot of changes, people get nervous,” said Tom Pickett, the company’s global head of content operations. “We’re trying to listen as best we can to the concerns coming out and coach folks through these changes.”

In recent months, company employees have held Google+ video chats to talk creators through their concerns, and next month, Google will open a sprawling, 40,000-foot facility in Marina del Rey, California, offering free studio space and equipment rentals to independent creators who otherwise wouldn’t have access to such resources.

“YouTube is nothing without its content creators,” Pickett said. “One of our key differentiators is that breadth and depth of content, so we’re totally about making it possible for anybody to have that opportunity for success.”

YouTube has in fact deepened its investment in its young would-be stars. Last March, Google acquired video start-up Next New Networks, and turned it into an academy of sorts teaching videography skills and publishing a Creator’s Playbook offering tips on how to promote videos.

The company invited up-and-coming YouTubers with fewer than 300,000 subscribers to apply for $35,000 US in funding and four-day stays at a “Creator Camp” to hone production skills with help from pros.


To a great extent, the frustration among YouTube’s amateur users stems from the ever-mounting competitiveness amongst their peers. Not unlike aspiring actors, aspiring YouTubers have flocked to Los Angeles with hopes of joining the handful of stars rumored to make million-dollar salaries.

An entire industry of production start-ups, perhaps ironically called “networks,” has sprung up, signing YouTube stars to contracts and helping negotiate ad deals and merchandising tie-ups.

These networks, among them Revision3, Maker Studios, Big Frame, the Collective, Machinima and Fullscreen, use subtle programming techniques to make YouTube’s recommendation engine to highlight their videos more often and also call on their roster of stars to cross-promote rising talent.

YouTubers say it’s becoming impossible to rise to the top without the support of these networks, who increasingly control the levers of stardom.

“The sad thing was when YouTube was first starting out, we didn’t need networks,” said Philip Wang, 28, an independent YouTuber who has made videos professionally since college. “It was people working together and exploring. But now there’s more at stake. People are all fighting for ad dollars, fighting for views.”

YouTube also benefits from the new networks. For instance, the ad deals Big Frame has independently struck with Home Depot, Levi’s and Electronic Arts in turn burnish YouTube’s reputation as an ad vehicle, said Jamie Byrne, the site’s head of original programming.

And not all of YouTube’s amateur providers feel disenfranchised by its move to more professional content. Many argue that the corporate dollars and Hollywood attitudes have had a net positive effect for them. In May, the company disclosed that “thousands” of its young stars now make six-digit salaries from YouTube, up from just a handful a few years ago.

“This is real money – and real businesses – being made. The ecosystem is getting that much stronger,” said Shira Lazar, a YouTube star who went on to host the “What’s Trending” show on the CBS News website.

“It’s incredible,” Lazar said, “if you think how this has all happened in the past three years.”

Source: TorontoSun

YouTube Live Now Available To All Users With 1000+ Subscribers |


The ability to stream live from YouTube is now available to a much larger group of users. YouTube announced that as of Wednesday, May 15th, users who have over 1,000 registered subscribers to their channels will have access to YouTube Live—a service which was first launched for beta testing about 2 years ago, but which has not previously been accessible to a wide audience.

With the changes effective already, any user with a significant number of subscribers can now stream live video to be broadcast to their viewers. Fans can watch the live stream on any device that has access to YouTube. Until now, the option to broadcast content in real-time was only made possible for specially selected partner accounts or developers of video games.

YouTube Live will provide an entirely new set of opportunities for YouTube channels and personalities to connect with their fans. Rather than constantly uploading new videos to a channel, users with over 1,000 subscribers can now plan to schedule live streaming events or specials that their viewers can watch and respond to in real-time.

Eligible users should be able to stream from multiple camera angles and also allows viewers to skip to different parts of the broadcast as it’s streaming; to check whether an account has been granted access to YouTube Live, users simply look at their Account Features page. Checking box with the option to enable Live applies the channel creator for the new feature.

Some partner accounts already have access to paid live-streaming abilities, such as pay-per-view options and paid subscriptions. However, it is not yet certain whether the new expansion will offer these features to all accounts with over 1,000 subscribers.

YouTube Video Hints At New T-Mobile myTouch Phones By LG |

It used to be that T-Mobile’s myTouch line consisted exclusively of HTC devices, but a video uploaded to T-Mobile’s official YouTube account has revealed that the myTouch club may have some new members.

Before being marked as private, the tutorial video briefly showed off two heretofore unseen LG smartphones, named simply the myTouch and the myTouch Q. A similar pair of LG phones was spotted in a leaked T-Mobile roadmap from a few months back, meaning that this could be the first glimpse of the rumored LG Maxx and Maxx Q.

The LG myTouch line bears a striking resemblance to LG’s Optimus Sol, which as TmoNews points out has a 3.8″ AMOLED display. The screen size seems consistent, as does the strangely low placement of the three Android softkeys, but it’s too early to tell if the LG myTouch is just a simple rebrand. The Maxx Q was also reported to sport a four-row QWERTY keyboard, which for right now seems like the only major difference between the two units.

Given the number of other myTouch entries in T-Mobile’s lineup, the branding choice here seems a bit puzzling. To call LG’s device simply the “myTouch” almost seems to imply that it’s more of a myTouch than all of HTC’s devices. It wouldn’t surprise me if T-Mobile made the video private to fix certain inconsistencies in the title and description. Still, if the original roadmap is to be believed, then we’ll only have to wait until November to find out the real deal.

You’ve Got Facebook Fans, Now What? Booshaka Raises $1M To Ensure Your Posts Earn You Money |



It doesn’t matter if you have one million Facebook fans if they never see your news feed posts. That’s why SV Angel, Founders Fund Angel, and more have backed a $ 1 million Series A for news feed optimization service Booshaka, which is also launching a big product update today.

The startup helps businesses identify their most active fans — especially the 10% generating 90% of the engagement — and incentivize them to leave even more wall posts, Likes, and comments. This feedback signals to Facebook’s news feed sorting algorithm EdgeRank that a business is high-quality and that its posts should be shown to a higher percentage of its fans. More impressions -> more clicks and awareness -> higher return on investment for businesses on their social media spend. This is social SEO, and it’s worth paying Booshaka for.

A lot of people don’t realize that businesses only reach an average of 12%-16% of their fans with each news feed post. That’s because some might not be online around they time a post is published, but it’s also because of EdgeRank, which determines which posts are worthy of being seen. A big signal that goes into this relevance rank is how often a Page’s fans have engaged with it in the past.

So if businesses want more reach in the news feed, they need to inspire their fans to be active, and then amplify their mentions of the brand through social ads. Booshaka accomplishes this with a product suite including analytics, evangelist recognition apps, and an Facebook Ads API interface.

First, business give Booshaka permission to analyze their Page wall and identify their loudest fans. Pages can then install a leaderboard application on their Page that offers fame to those who engage most frequently.

Booshaka’s Activity Feed app highlights the latest participants in the conversation, and an Activity Box app lets Pages ask fans to complete specific missions such as uploading a photo or checking in to a physical store. Pages can then reward fans for their engagement with virtual goods, badges, real product samples, and discounts. All these activities improve a Page’s EdgeRank.

But here’s where Booshaka gets really smart. These actions automatically generate mentions of a brand that can be turned into Sponsored Stories ads on Facebook. These social ads that amplify word of mouth’s reach have proved to be influential and have stellar click-through rates. They’re also the only types of ads that can appear on Facebook mobile. Booshaka even tells brands how to target these ads by identifying Pages with similar fan bases who the ads would seem relevant to.

Investors think news feed optimization (NFO) could a big business the way search engine optimization did. 120,000 Facebook Pages have already signed up for Booshaka’s help, leading to today’s Series A participation from SV AngelPivotNorth Capital, FF Angel, Joe Lonsdale (CEO of Addepar and co-founder of Palantir), Peter Weck (co-founder of Keepsy and Simply Hired) and Rich Skrenta (CEO of Blekko).

Booshaka will be competing with other NFO services such as 500 Startups’ PostRocket, analytics providers including PageLever and EdgeRank Checker, plus the big dogs of Facebook marketing like Buddy Media, Vitrue, and Wildfire. Booshaka’s basic apps are free, with premium rewards and analytics capabilities ranging from $ 30 to $ 500 a month based on fan count, and enterprise service with competitor benchmarking and more available for Pages with over 75,000 fans.

Brands have spent the last few spending millions on enterprise  social marketing services who build them contests to net them new fans. But sometimes these are just fair-weather fans who are just looking to win prizes, and who aren’t necessarily potential customers. Even if they’re the right fans, they might never see a brand’s marketing messages if their EdgeRank is too low.

Booshaka’s founder and CEO Erik Ober tells me “This first wave of the companies took advantage of the naive the market, [charging them to] acquire these huge audiences that don’t care. Now it’s our job to go out and find the people that are engaged and rally them around the conversation.” If Booshaka works, brands won’t need to buy more fans because they’ll be able to squeeze more ROI out of the ones they already have.

TechCrunch » Social