#content monetization scope for publishers | Explore Tumblr Posts and Blogs

howdoesastandalonevpnwork · 1 month

Text

why does netflix not like vpn

🔒🌍✨ Get 3 Months FREE VPN - Secure & Private Internet Access Worldwide! Click Here ✨🌍🔒

why does netflix not like vpn

VPN detection methods

VPN detection methods are crucial for maintaining security and privacy online, both for individuals and organizations. As the use of Virtual Private Networks (VPNs) continues to grow, so does the need to detect and manage their presence. Here are several methods commonly used to detect VPN usage:

Deep Packet Inspection (DPI): DPI involves analyzing the data packets passing through a network to identify patterns consistent with VPN traffic. VPN protocols often have distinct characteristics that DPI can recognize, allowing network administrators to flag and block VPN connections.

Port Blocking: Many VPNs use specific ports for communication, such as port 1194 for OpenVPN. By blocking these ports, network administrators can prevent VPN traffic from traversing their networks. However, this method may also disrupt legitimate traffic using the same ports.

Protocol Analysis: VPNs use various protocols, including OpenVPN, L2TP/IPsec, and IKEv2/IPsec. By examining the protocol headers of network packets, administrators can identify VPN connections and take appropriate action.

DNS Filtering: Domain Name System (DNS) requests made by VPN clients can reveal their presence. DNS filtering involves monitoring and filtering DNS queries to detect and block VPN-related domains or IP addresses.

Behavioral Analysis: Analyzing network traffic patterns and user behavior can help identify suspicious activity indicative of VPN usage. For example, sudden increases in encrypted traffic or connections to known VPN servers may trigger further investigation.

GeoIP Blocking: VPN services often route traffic through servers located in different countries to bypass geographical restrictions. By blocking IP addresses associated with VPN servers, organizations can prevent users from accessing restricted content or services.

VPN Detection Services: There are specialized tools and services available that actively scan networks for VPN usage. These solutions provide detailed reports on VPN activity, helping organizations proactively manage their network security.

By employing a combination of these methods, network administrators can effectively detect and mitigate VPN usage within their environments, ensuring compliance with security policies and protecting sensitive data.

Content licensing agreements

In the world of digital content, licensing agreements play a crucial role in governing the use and distribution of creative works. Content licensing agreements are contracts between the content creator (licensor) and another party (licensee) that outline the terms and conditions under which the licensee can use the licensor's content.

These agreements specify how the content can be used, the duration of the license, limitations on usage, and any financial arrangements, such as royalties or fees. The scope of a content licensing agreement can vary widely depending on the type of content involved and the rights being licensed.

Content licensing agreements are commonly used in various industries, such as music, film, publishing, software, and photography. They allow content creators to monetize their work by granting others the right to use it in exchange for compensation.

One of the key benefits of content licensing agreements is that they help protect the intellectual property rights of the content creator. By defining how the content can be used and setting clear limitations, these agreements help prevent unauthorized distribution and ensure that the creator is properly credited and compensated for their work.

Overall, content licensing agreements are essential for content creators looking to commercialize their work while retaining control over how it is used. By establishing clear guidelines and expectations, these agreements benefit both the licensor and the licensee by ensuring a fair and mutually beneficial arrangement.

Geo-blocking restrictions

Geo-blocking restrictions refer to limitations placed on access to online content based on the user's geographical location. These restrictions are often implemented by websites, streaming platforms, or online services to comply with licensing agreements, copyright laws, or regional regulations. While geo-blocking can serve legitimate purposes such as protecting intellectual property rights or adhering to content distribution agreements, it can also pose challenges for users seeking to access content from different regions.

One of the most common examples of geo-blocking is encountered when trying to stream movies, TV shows, or sporting events from online platforms. Due to licensing agreements, certain content may only be available in specific countries or regions, leading to frustration for users who are unable to access it from their location. Additionally, geo-blocking may affect access to online shopping sites, digital content, and even social media platforms, limiting the availability of products, services, and information based on geographic boundaries.

To bypass geo-blocking restrictions, users often resort to using virtual private networks (VPNs) or proxy servers. These tools allow users to mask their IP addresses and appear as though they are accessing the internet from a different location, thereby circumventing geo-blocking measures. However, it's important to note that bypassing geo-blocking may violate the terms of service of certain websites or platforms and could potentially lead to legal consequences.

In recent years, there has been growing debate and scrutiny surrounding geo-blocking practices, with some advocates calling for greater transparency and fairness in how online content is distributed globally. Efforts to address geo-blocking issues have included legislative initiatives, industry collaborations, and technological advancements aimed at finding a balance between protecting rights holders' interests and ensuring broader access to digital content for users worldwide.

Copyright infringement concerns are a significant issue in today's digital age, with the widespread sharing and distribution of content online. These concerns revolve around the unauthorized use of copyrighted material, which can lead to legal consequences for individuals and businesses.

One major concern with copyright infringement is the impact it has on content creators and rights holders. When their work is used without permission, they lose out on potential revenue and recognition for their efforts. This can be particularly damaging for artists, writers, musicians, and other creators who rely on their work for a living.

Another concern is the proliferation of counterfeit goods and pirated content, which can harm legitimate businesses and pose risks to consumers. Not only does this practice undermine the value of original products and content, but it can also lead to a loss of trust in the marketplace.

To address copyright infringement concerns, individuals and businesses can take proactive steps to protect their intellectual property. This includes registering copyrights, using watermarks on images, implementing digital rights management tools, and monitoring online platforms for unauthorized use of their content.

In conclusion, copyright infringement concerns are a pressing issue that affects content creators, businesses, and consumers alike. By raising awareness, enforcing copyright laws, and taking preventive measures, we can work towards a more respectful and ethical digital landscape.

Streaming quality and performance

Title: Enhancing Your Streaming Experience: The Importance of Quality and Performance

Streaming has become an integral part of our entertainment landscape, offering a plethora of content at our fingertips. Whether it's movies, TV shows, or live events, the quality and performance of streaming platforms can significantly impact our viewing experience.

One of the key factors that determine the quality of streaming is the resolution. Higher resolutions, such as 4K and even 8K, provide sharper images and more vibrant colors, creating a more immersive viewing experience. However, streaming in high resolution requires a robust internet connection to avoid buffering and pixelation.

Another crucial aspect is the streaming bitrate, which determines the amount of data transmitted per second. Higher bitrates result in smoother playback and less compression artifacts, especially during fast-paced scenes or action sequences. Platforms that offer adaptive bitrate streaming can dynamically adjust the bitrate based on the viewer's internet speed, ensuring a consistent viewing experience across different devices and network conditions.

Latency is another factor that can affect streaming performance, particularly for live events such as sports or concerts. High latency can result in delays between the live broadcast and the viewer's screen, impacting real-time interactions and immersion. Streaming platforms employ various techniques to minimize latency, such as content delivery networks (CDNs) and edge computing, which distribute content closer to the viewer for faster access.

Furthermore, the device used for streaming can also influence the overall experience. Smart TVs, gaming consoles, and dedicated streaming devices offer features like HDR (High Dynamic Range) support and Dolby Atmos sound, enhancing both the audio and visual aspects of the content.

In conclusion, streaming quality and performance play a crucial role in shaping our viewing experiences. By investing in high-resolution content, optimizing bitrates, reducing latency, and using compatible devices, viewers can enjoy seamless streaming experiences that rival traditional broadcast television.

0 notes

realestateppcads · 6 months

Text

Unlocking the Potential of Travel Ad Networks: A Guide for Publishers

In the dynamic landscape of digital advertising, publishers are continually seeking innovative ways to monetize their content and engage their audiences. One such avenue that has proven to be a game-changer is using travel ad networks. These networks offer a unique opportunity for publishers to tap into the travel industry and boost their revenue streams. In this blog post, we'll explore the various aspects of travel ad networks and how publishers can harness their power for maximum benefit.

Understanding 7Search PPC

The platform is designed to connect advertisers with users actively seeking specific products or services. Through a keyword-centric model, advertisers bid on relevant search terms, ensuring that their ads are displayed to a highly targeted audience expressing intent related to their offerings.

7Search PPC is a pay-per-click ad network that offers online advertising and monetization solutions for advertisers and publishers. As a publisher, you can use 7Search PPC to monetize your website or blog traffic by displaying various ad formats, such as text ads, native ads, image ads, popunder ads, and more. You can also earn a referral bonus of 10% of the income of the referred person for up to 60 days.

Some of the benefits of using 7Search PPC as a publisher are:

1. You can access high-quality traffic from direct publishers and ad networks.

2. You can choose from different pricing models, such as CPC (cost per click) or CPM (cost per mile).

3. You can get real-time detailed statistics and advanced analytics for your campaigns.

4. You can use multiple payment options and get paid on time.

Understanding Travel Ad Networks

Travel ad networks are specialized advertising platforms that connect publishers with advertisers in the travel industry. These networks facilitate the display of targeted ads related to travel destinations, accommodations, transportation, and related services on publisher websites. By leveraging these networks, publishers can monetize their content by displaying relevant and engaging travel advertisements to their audience.

Key Benefits for Publishers

Monetization Opportunities

Travel ad networks open up new revenue streams for publishers. Advertisers in the travel industry are often willing to pay a premium for exposure on platforms that attract travel enthusiasts. This creates lucrative opportunities for publishers to monetize their travel-related content.

Targeted Advertising

One of the significant advantages of travel ad networks is the ability to deliver highly targeted ads. Advertisers can tailor their campaigns based on location, interests, and demographics. This ensures that the ads displayed on publisher websites are relevant to the audience, increasing the likelihood of engagement and conversions.

Enhanced User Experience

Travel ads, when well-integrated into the content, can enhance the overall user experience. Relevant and visually appealing travel advertisements can capture the audience's attention without being intrusive. This creates a win-win situation for both publishers and users.

Diversification of Content

Integrating travel ads allows publishers to diversify their content offerings. This not only attracts a broader audience but also keeps existing readers engaged with fresh and relevant material. Travel-related content can complement existing themes and contribute to a well-rounded and appealing website.

Global Reach

The travel industry has a global scope, and travel ad networks enable publishers to reach a wide and diverse audience. This global reach is particularly beneficial for publishers with an international readership, as it aligns with the inherently global nature of travel.

Tips for Publishers to Maximize the Impact of Travel Ad Networks

Content Alignment

Ensure that the travel ads align seamlessly with your content. Integration should feel natural and enhance the overall theme of your website rather than disrupt the user experience.

Responsive Design

Optimize your website for a responsive design to accommodate users accessing your content from various devices. This ensures that travel ads display appropriately on desktops, tablets, and smartphones, maximizing visibility and engagement.

Quality Over Quantity

Prioritize the quality of ads over the sheer volume. High-quality, visually appealing advertisements are more likely to capture the audience's attention and result in higher click-through rates.

Performance Monitoring

Regularly monitor the performance of travel ads on your website. Analyze key metrics such as click-through rates, conversion rates, and user engagement. Use this data to refine your approach and maximize the effectiveness of the ads.

Stay Relevant

Keep your content and ads up-to-date with the latest trends and developments in the travel industry. Staying relevant ensures that your audience remains interested and engaged with your travel-related content.

Navigating the Evolving Landscape

The digital advertising landscape is ever-evolving, and publishers need to stay attuned to emerging trends. With travel ad networks, it's crucial to adapt to changes in consumer behavior, technology, and industry dynamics. Here are some additional strategies to navigate the evolving landscape effectively:

Embrace Multimedia Content

Consider incorporating multimedia content, such as videos and interactive elements, into your travel-related articles. Multimedia not only enhances the visual appeal of your website but also provides a more immersive experience for your audience. Travel ad networks often support various ad formats, including video ads, so leveraging these options for maximum impact is essential.

Utilize Social Media Integration

Harness the power of social media to amplify the reach of your travel content and ads. Share your travel articles across your social platforms and encourage your audience to engage and share. Many travel ad networks offer social media integration, allowing you to extend the reach of your campaigns beyond your website.

Collaborate with Influencers

Explore collaborations with travel influencers and bloggers to amplify the reach and credibility of your content. Influencers often have dedicated followers who trust their recommendations, making them valuable partners for promoting travel-related ads on your platform.

Optimize for Mobile

With the increasing use of mobile devices, optimizing your website for mobile is imperative. Ensure that your travel ads are mobile-friendly, providing a seamless experience for users accessing your content on smartphones and tablets. Mobile optimization not only enhances user experience but also contributes to higher ad visibility and engagement.

Explore Native Advertising

Native advertising seamlessly integrates sponsored content with the overall look and feel of your website. Many travel ad networks offer native ad formats that blend seamlessly with your articles, making them appear less intrusive and more organic. This approach can enhance user acceptance and engagement.

Overcoming Challenges

While travel ad networks offer numerous benefits, publishers may encounter challenges along the way. Addressing these challenges proactively is essential for maintaining a successful partnership with travel advertisers:

Ad Blockers

The rise of ad blockers poses a challenge to the visibility of travel ads. Encourage your audience to support your platform by disabling ad blockers for your site. Emphasize the value of advertising in sustaining free content and maintaining the quality of your travel-related articles.

Ad Fatigue

To prevent ad fatigue among your audience, rotate and refresh your travel ads regularly. Displaying the same ads continuously can lead to reduced engagement. Work closely with travel ad networks to access a diverse range of advertisements and keep your content fresh and enticing.

Data Privacy Compliance

Stay informed about data privacy regulations and ensure that your use of audience data complies with legal requirements. Partner with travel ad networks that prioritize data privacy and offer transparent policies to build trust with your audience.

Final Thoughts

In the ever-expanding digital ecosystem, publishers must continuously adapt to seize opportunities and overcome challenges. Unleashing the power of travel ad networks requires a strategic approach that integrates seamlessly with your content while prioritizing user experience and relevance. By staying agile, embracing innovation, and fostering strong partnerships with travel advertisers, publishers can unlock the full potential of travel ad networks and embark on a journey of sustained growth and success in the competitive digital landscape.

#travel ads #travel advertiser #travel industry

0 notes

petnews2day · 2 years

Text

Naughty Dog Hires Fortnite Veteran As Its "Monetization Designer" For A New Project

New Post has been published on https://petnews2day.com/pet-news/dog-news/naughty-dog-hires-fortnite-veteran-as-its-monetization-designer-for-a-new-project/

Naughty Dog Hires Fortnite Veteran As Its "Monetization Designer" For A New Project

Naughty Dog has hired Fortnite’s former system designer to become the “principal monetization designer” on an upcoming project. Anders Howard, who designed the core of Fortnite’s battle pass and its progression system, is now working on Naughty Dog on a new project believed to be a live-service multiplayer title.

Howard joined Naughty Dog in November 2022, it was revealed on LinkedIn (via Insider Gaming). Howard did not say what game he is working on, confirming only that “new adventures await!”

You need a javascript enabled browser to watch videos.

Size:640 × 360480 × 270

Want us to remember this setting for all your devices?

Please use a html5 video capable browser to watch videos.

This video has an invalid file format.

Sorry, but you can’t access this content!

Please enter your date of birth to view this video

JanuaryFebruaryMarchAprilMayJuneJulyAugustSeptemberOctoberNovemberDecember12345678910111213141516171819202122232425262728293031Year202220212020201920182017201620152014201320122011201020092008200720062005200420032002200120001999199819971996199519941993199219911990198919881987198619851984198319821981198019791978197719761975197419731972197119701969196819671966196519641963196219611960195919581957195619551954195319521951195019491948194719461945194419431942194119401939193819371936193519341933193219311930192919281927192619251924192319221921192019191918191719161915191419131912191119101909190819071906190519041903190219011900

By clicking ‘enter’, you agree to GameSpot’s Terms of Use and Privacy Policy

enter

Now Playing: The Last Of Us Part II Video Review

Howard left Epic Games in January 2022 after seven years with the company, moving to Ubisoft Stockholm where he worked on a new IP and contributed to its economy design.

He’s joining Naughty Dog as the studio develops its first major multiplayer game, which is a standalone title in the Last of Us universe. Very little is known about the game, but Naughty Dog has said it will begin to discuss the game properly in 2023.

Concept art for The Last of Us multiplayer game

The Last of Us standalone multiplayer game is expected to be a free-to-play title supported by microtransactions. As such, it seems Howard is an experienced person to help guide Naughty Dog’s development philosophy and systems surrounding in-game economy design and monetization.

Naughty Dog has said its Last of Us multiplayer game is an “extremely ambitious undertaking.” The developer said: “We’re growing our studio significantly to ensure we build this full-scale, standalone game, with its massive scope and immense world, in a way that fans have come to expect from The Last of Us and Naughty Dog.”

The Last of Us: Part II was originally going to ship with a multiplayer element of its own before Naughty Dog scrapped those plans and elected to release a standalone game instead. This is one of many live-service projects in the works at PlayStation, as the company plans to launch 10 live-service multiplayer games by 2026.

The products discussed here were independently chosen by our editors. GameSpot may get a share of the revenue if you buy anything featured on our site.

#Dog News

0 notes

toshootforthestars · 4 years

Link

Yes!

Via Tom Ley, posted 10 Sept 2020:

This site exists because of the events of Oct. 29, 2019, when we all still worked at Deadspin.

That was the day that Barry Petchesky, who had been a writer and editor at the site for over 10 years, and was at that point the site’s acting editor-in-chief, was fired. He was marched back to his desk by G/O Media CFO Tom Callahan, who made Petchesky hand over his keycard and collect his things while I and a handful of my colleagues demanded to know why he had just been fired. We’d all sprung up from our chairs and started barking half-formed questions, to which Callahan responded by pointing at one of our computers and sneering, "Just look at the home page.”

At that moment, Deadspin’s home page featured stories about wedding dresses, three good dogs I recently met, a pumpkin thief—and no stories about sports. This was purposeful, the staff’s response to a memo sent by the company’s executive editor a day earlier that forbade us from covering topics not related directly to sports. Jim Spanfeller, who had been installed by the private equity firm Great Hill Partners as CEO of our company all of seven months before, responded to this act of insubordination by calling Petchesky into his office, firing him, and then telling him to “get the fuck out.”

I spent the rest of that day and most of the next huddled in an empty corner office with my colleagues 27 floors above the 45th and Broadway intersection of Times Square. The conversations we had in that room eventually led to all of us making the decision to quit in solidarity with Petchesky.

At this point the staff was used to navigating various workplace crises. We’d had similar meetings before, following resignations, sales of the company, layoffs, collective-bargaining sessions, and even a bankruptcy. We used to joke about how no new Deadspin employee ever made it through their first few months at the site without some kind of company-wide crisis.

This meeting felt different, though. Through all the other troubles we had been able to determine that no matter what was crumbling around us, Deadspin was still ours, and the ability to go to work every day and make the website we loved was worth holding onto for as long as possible. But suddenly we were confronted with a vision of Deadspin’s future—one without Petchesky and without the editorial freedom our site depended on—that we simply couldn’t accept.

One colleague, vaguely recalling all the other existential threats we’d survived through the years, summed up our situation neatly, saying through his tears, “They got us this time.”

Within 48 hours the entire remaining staff of Deadspin, 20 people, had resigned. Now, 10 months later, we are ready to start something new.

That’s the story of how we arrived at this point, but if you want to truly understand why we are doing this, you need to widen the scope a little bit. The full story is about more than just an irascible staff of writers reacting flippantly to a memo they didn’t like. It’s a story about what will and won’t be tolerated, both by those with the power to shape the present and future of the media industry, and by those who bear the consequences of how that power is wielded.

The version of Deadspin we walked away from was an immensely popular one. Every day, millions of people visited our site—by the end, a good month saw us bringing in around 20 million unique visitors—to see what we had to show them. You could log on in the morning to read analysis of a hockey game, come back a few hours later to a perfectly crafted headline about Lions fans copulating in a parking lot, and then return in the evening to find out that Manti Te’o’s dead girlfriend was a hoax, or why Greg Hardy was arrested, or what kind of person NBA All-Star Kevin Johnson really is.

Every day offered Deadspin an opportunity—to joke, to argue, to critique, and to uncover. The tenacity with which we seized that opportunity is what electrified the site.

Deadspin didn’t acquire all those readers by accident, and the skills its writers and editors needed to run the site every day didn’t spring from nothing. The site grew and became a better version of itself every day because of how seriously those who were entrusted with it guarded and improved upon the folkways and traditions that had been handed down by previous iterations.

Will Leitch launched the site in 2005, and from the very start gifted Deadspin with a clarity of purpose that persisted right up until our departure. The site’s motto from its 2005 launch until our last day: “Sports news without access, favor, or discretion.” In one of his first posts Leitch explained, “There’s a whole side of sports that, because of either corporate obligations or just plain laziness, never makes it into the public consciousness. We specialize in that side.”

After Leitch came A.J. Daulerio, who understood that the more Deadspin burrowed itself into the negative space created by traditional sports media institutions, the more vital the site became. Deadspin looked at ESPN and newspapers and other legacy publications the way raiding Vikings must have looked at the shores of Britain, dedicating an entire section to exposing workplace harassment at ESPN, revealing sports media stars like Jay Mariotti and Sean Salisbury as frauds and hacks, and routinely securing stories in ways that would make a journalism professor faint.

Those infamous pictures of Brett Favre? Exchanged for a paper bag stuffed with cash.

Tommy Craggs succeeded Daulerio, and during his tenure Deadspin’s already venomous bite was imbued with a political sensibility. The scope and ambition of the site also began to expand during Craggs’s tenure, and eventually the site that had started with a staff of one accumulated a stable of editors and writers, reporters with dedicated beats, as well as the budget and appetite needed to publish the sort of reported scoops and features that rivaled anything you’d expect to find in a prestigious newspaper or magazine. The site also established culture and lifestyle sections, which brought Deadspin’s voice and point of view to bear on all manner of topics, like Gamergate and Wile E. Coyote.

A funny thing started happening around this time: The site that had stood itself up by throwing bombs at various institutions was becoming something of an institution itself. This transformation continued under the stewardship of subsequent editors Tim Marchman and Megan Greenwell, both of whom worked to diversify the staff, further expand Deadspin’s coverage areas, and continue landing the sort of big, industry-leading stories that made the site an indispensable daily read.

After a while it was no longer accurate to describe Deadspin as just a sports site (though the vast majority of its coverage remained sports-related) or as a place to find rude headlines about sports columnists. What Deadspin became, what it was on the day its entire staff resigned, was a full-bodied publication. It married muckraking with a 27-word blog post headlined Tony Dungy Doesn’t Think Michael Vick Is Being Haunted By Dog Ghosts.

To an uncommon extent, readers wanted to know what Deadspin had to say. When other people in the industry would hear about how much of our traffic came directly through the homepage (as opposed to social media or search), they would stare in disbelief. Whenever someone left the site to go work at another outlet, they would invariably send a grim dispatch about how much they missed Deadspin’s built-in audience.

What was apparent to those of us who had spent years reading and creating Deadspin was that the site wasn’t defined by what it covered, but by its sensibility.

People liked reading a site that refused to condescend or patronize, that was comfortable telling ugly truths about sports and the world at large, that was rude, that was mean (usually in ways that were more illuminating than gratuitous), and that was whimsical in ways that were never insufferable. Readers didn’t come to Deadspin every day just to get their sports news or find out who won last night. They came because they liked reading Deadspin.

Where did it all go wrong, then?

There are perhaps too many points on the timeline to discuss. Maybe it was when infamous venture capitalist and Donald Trump confidant Peter Thiel, angered over sister site Gawker’s antagonistic coverage of him, secretly funded a lawsuit against Gawker Media from ex-wrestler Hulk Hogan and structured it to cause maximum damage to the company. (A loss at trial in Florida state court in March 2016 resulted in a $140 million judgment and Gawker Media’s bankruptcy.) Maybe it was when debt-laden broadcaster Univision bought the company at auction that August and then spent the next few years failing to figure out exactly what it wanted to do with us. (To wit, Univision seemed to be under the impression that Gawker Media’s sites would somehow be able to create television shows that would prop up their failing cable channel, Fusion.)

Even if the dominoes started falling years ago, I never felt the end was in sight until Great Hill purchased the company in April of 2019. They got to work quickly, changing our name to G/O Media, and installing Spanfeller, a veteran of Forbes.com and content mills like The Daily Meal, as CEO. During his introductory meeting with the whole staff, he revealed that though he’d spent his career on the business side of digital media, his true ambition was to publish the next great American novel.

Spanfeller moved through the office like a blunt object, always more interested in how to further monetize the G/O Media sites than in the sites themselves. In an early meeting Spanfeller had with the editorial staff, he told us that his plan was to more than double G/O Media’s annual revenue within a year.

He went about executing his plan by firing the company’s top two editorial leaders, wiping out the investigations desk, and installing a coterie of former colleagues in high-level positions across the company. As Spanfeller molded the company to fit his vision, we at Deadspin found ourselves in a heated confrontation with him.

[…]

Soon it became clear that his plan for juicing G/O Media’s revenue involved turning Deadspin into the kind of site it was never supposed to be. He liked to talk about the site’s position in the “sports category,” kvetching about how poorly our revenue and traffic numbers stacked up against those of ESPN.com and SB Nation.

It didn’t seem to matter to him that sports fans would visit ESPN.com and Deadspin for entirely different reasons, or that every site ahead of us in the “sports category” had exponentially larger staffs, or that some of those same sites relied on hundreds of underpaid and unpaid bloggers to hit their traffic numbers, or that Deadspin was one of the few sites that earned its traffic without resorting to SEO plays designed to capture clicks from people searching things like “Mayweather vs. McGregor livestream.”

None of that seemed to matter to Spanfeller, because he didn’t see Deadspin the way its staff and its readers saw it. To him it was just a valuable brand name within the sports category, and with that brand name came unlimited potential for growth and profit.

[…]

Lately I’ve been thinking of Deadspin as a strange machine. For more than a decade, the people charged with the maintenance of that machine were allowed to tinker with it according to their whims and idiosyncratic tastes. The result of all that tinkering was a machine which, for all its apparent wonkiness, worked brilliantly.

The problem with a machine like that is that it’s difficult for anyone who didn’t build it, or doesn’t respect those who did, to understand exactly how or why it works. When Deadspin’s staffers and readers looked at the machine, they saw a wonderful and whirring contraption, but all Spanfeller and Great Hill saw was an odd collection of valves and pistons. They saw parts, but not the whole.

Spanfeller’s disdain for his own newsroom, the “stick to sports” memo, Petchesky being fired, and the cascade of oppressive ads—they were all signaling the same thing: Spanfeller and Great Hill weren’t really interested in preserving what we had spent the last decade building. Maybe a few components would remain to keep up appearances, but Deadspin’s demolition was coming, and we couldn’t stop it. What we could do was refuse to participate in its destruction.

What happened at Deadspin, what’s still happening at G/O Media, isn’t unique. It’s just a particular version of the same slow-motion, industry-wide disaster that’s been unfolding for years.

[emphasis mine]

Everything’s fucked now.

Newspapers have been destroyed by raiding private equity firms, alt-weeklies and blogs are financially unsustainable relics, and Google and Facebook have spent the last decade or so hollowing out the digital ad market. What survives among all this wreckage are websites and publications that are mostly bad. There’s plenty to read, the trouble is that so much of it is undergirded by a growing disregard (and in some cases even disdain) for the people doing the actual reading.

What readers are being served when a sports blog leverages its technological innovations in order to create a legion of untrained and unpaid writers? Who benefits when a media company cripples its own user experience and launches a campaign to drive away some of its best writers and editors? Whose interests are being served when a magazine masthead is gutted and replaced by a loose collection of amateurish contractors? Who ultimately wins when publications start acting less like purpose-driven institutions and more like profit drivers, primarily tasked with achieving exponential scale at any cost? What material good is produced when private equity goons go on cashing their checks while simultaneously slashing payroll throughout their newsrooms?

Things have gotten so bad that even publications that get away with defining themselves as anti-establishment are in fact servile to authority in all forms, and exist for the sole purpose of turning their readers into a captive source of profit extraction.

The truth is that nobody who matters—the readers—ever asked for any of this shit. Every bad decision that has diminished media—every pivot to video, every injection of venture capital funds, every round of layoffs, every outright destruction of a publication—was only deemed necessary by the constraints of capitalism and dull minds.

This is an industry being run by people who, having been betrayed by the promise of exponential scale and IPOs, now see cheapening and eventually destroying their own products as the only way to escape with whatever money there is left to grab.

The ability of Defector to escape these constraints will depend not only on the quality of our work, but on our ability to avoid feebly chasing dollars through a collapsing digital ad economy. We want the freedom to provide you with a site, custom-built by our partners at Alley Interactive, that isn’t clogged with pop-up ads, banner ads, video ads, and chum boxes full of spammy headlines explaining how That One Girl From Full House Looks Like A Damn Snack Now.

Me:

Nothing lasts forever, not even tumblr, and probably not even Defector. I gave ‘em a lousy $8 this month. Hopefully I can continue to do so.

Defector’s prospects are grim, not at least because of ALL THE OTHER sporps blergs out there plus the Second Great Depression now underway. How will it end? Sued into oblivion like gawker was? Unable to find enough subscribers or advertisers to fund operations? No search traffic from google? Buried by the algorithm on facebook? The worrying starts IF defector is viable (ie: people have money to give) and churns out not just great stories and thinkpieces but also good #content to goose the Google and Facebook algorithms. Who knows where things will be in a year.

Here’s the thing IMO: The business elite, the billionaire class, social conservatives from every income bracket, GOP acolytes, and our reviled gatekeepers at facebook & google, all are in unison on the notion that what’s posted online must be controlled.

What’s posted online should never impinge upon their collective dominance. Authority, especially THEIR authority, must never be questioned. Even one’s inclination to question authority must be countered by intimidation and fear. We, you and I, can have some left-ish “capitulzm sux” schtick, as a treat, but any and all critical writings on the powers that be and the way things work, anything that raises deeply pertinent and uncomfortable questions on the people who have accumulated outsize power and control over the course of our lives, that must be clamped down upon post-haste.

Peter Thiel and crew successfully went after gawker’s survival, and its select shitty posts from shitty people were a conveniently compelling argument that the website needed to go (not just the shitty people). Later revelations made the case that much more was at play, somewhat vindicating the suspicions of Gawker’s good writers.

As Gawker has noted over the past decade:

[Thiel’s] vaunted hedge fund Clarium Capital was an abject failure, losing more than 90% of its $7 billion in assets, a decline that Valleywag assiduously chronicled.

He is an arch libertarian who believes that central mechanisms of contemporary society—including representative democracy, universal suffrage, and formalized education—are either outdated or incompatible with human freedom.

He is a loud proponent of “seasteading,” the movement to establish sovereign communities on permanent ocean vessels for the purpose of developing legal systems unencumbered by taxes or any other kind of traditional government policies.

He believes death itself can and should be cheated, and even intends to be cryogenically frozen after he passes away, in hopes that science will one day be capable of reviving him. He literally wants to live forever.

He has backed efforts to question the legitimacy of climate change science as well as political groups opposed to immigration—even though the industry that minted him as a billionaire is heavily dependent on immigrant labor.

Gizmodo’s recent coverage of Facebook, in which Thiel was an early investor and on which he has a board seat, launched a congressional investigation into the company’s news curation practices, and inspired a national conversation about the vast amount of power the company wields—with no transparency and minimal accountability—over who reads what.

These stories, which are only a small sample of those Gawker has published about Peter Thiel, largely concern his professional life: Business ventures, political positions, and public statements. But as he noted to the Times, it was concern for his “friends” that Gawker had covered that motivated his secret legal assault: “One of my friends convinced me that if I didn’t do something, nobody would.”

Hm.

The news business is indeed in dire straits right now. As noted above in the defector blerg post, it’s definitely true that:

“Every bad decision that has diminished media—every pivot to video, every injection of venture capital funds, every round of layoffs, every outright destruction of a publication—was only deemed necessary by the constraints of capitalism and dull minds. This is an industry being run by people who, having been betrayed by the promise of exponential scale and IPOs, now see cheapening and eventually destroying their own products as the only way to escape with whatever money there is left to grab.”

I contend that THIS IS THE PLAN. No news, after all, is good news. Money of course is made, “profit extraction” and/or “value extraction” happens, but these companies are one part cynical profiteers but also one part ideologues: an informed electorate is BAD. Fuck this, the public doesn’t need to know jack shit about anything.

Via The New Republic, posted Oct 2019:

This is not to further pan for lamentations over the demise of a website. Splinter and its parent company was already something of a distressed asset—its status as such, in fact, likely played no small role in attracting the attention of Great Hill in the first place. But the wider world of mass media is filled with other such distressed assets, from the websites spawned in the heyday of venture capital media mavens, to long-standing local and regional newspapers, straining to balance their journalistic mission with an ever decreasing supply of capital.

It feels increasingly like the terms of journalism—which kinds of outlets get to do it, who gets paid enough to live doing it, which communities get coverage—are set by the rich.

The best case scenario is that journalists become part of a billionaire’s patronage network.

When Splinter shuttered, former Gawker writer Brendan O’Connor wrote that “the workplace under capitalism is a dictatorship, and the dictatorship of private equity is an especially arbitrary one.” It’s a shame that journalism—something with such obvious broad societal value, and that should be wholly antagonistic to the rich and powerful—should be mostly done for private profit, with all the compromises that come with that. But the sad fact of journalism’s dependence on profit-making becomes far more grotesque and dangerous when the profiteers in question are financial sector wheeler-dealers.

This particular flavor of profiteers seek a higher yield, faster, with no regard for the long-term sustainability of the business.

Alden Global Capital, which owns Digital First Media (DFM) and its publications like The Denver Post, drained hundreds of millions of dollars from DFM for their own gain. It can be confounding to contemplate: How can a hedge fund profit from destroying the value of what it just bought? Remarkably, they can.

As The American Prospect explainedin detail last year, private equity can make big bucks off destroying local papers if it “strips staffing and siphons off cash flow.” Papers continue to make money off local advertisers who still value them, even as the quality of the journalism collapses; cutting costs by laying off staff or centralizing production can speed it up. Essentially, the long-term consequences to profits don’t catch up fast enough to prevent the hedge fund owners from stripping the assets, who then flip the carcass.

That’s how you end up with instances in which Alden executives “rewarded themselves with tens of millions of dollars’ worth of prime real estate in Florida and the Hamptons for their personal enjoyment.”

The “War on Journalism” isn’t a myth, it’s a bone fide pursuit. There has never been a “liberal media” and the corporations that own news organizations very much prefer it stay that way. Facebook and google siphoning away ad dollars helps immensely to this end.

Take Advance Publications and the Newhouse family!

Via the CJR, posted Dec 2013:

Often represented to employees as an extraordinary worker benefit, The Pledge, in fact, had its roots in the antipathy of the late Advance founder S.I. “Sam” Newhouse, Sr. toward organized labor.

“I refuse to stand by passively and allow any union to ‘bust’ me,” he wrote in A Memo to My Children, a thin, self-published memoir that is apparently the only personally penned record of his life and career.

After acrimonious and sometimes violent contract negotiations and strikes at Advance-owned newspapers in New York, Oregon, Missouri, and Ohio in the 1930s through the mid-1960s, Sam Newhouse, apparently in consultation with his son, Donald, is believed to have crafted the Pledge. (The Newhouses have declined to talk to reporters and authors about the Pledge, including me when I was researching my recently released book about the “digital first” changes at the Times-Picayune and other Advance newspapers.)

Over the years, the Pledge became “so well-known throughout the newspaper industry that it was almost considered legendary,” according to a 2009 lawsuit by former Mobile, AL, Press-Register Publisher Howard Bronson, who sued after he was dismissed from his $745,000-a-year post at the Advance paper while The Pledge was still in force. (The suit was settled for an undisclosed amount in April 2011.)

When originally instituted in the mid-1960s, The Pledge explicitly promised employees that they would not lose their jobs “because of technological changes or economic conditions so long as the newspaper continues to publish and [employees] are willing to retrain for another job, if necessary.”

It was modified in 2008 to cover only permanent, non-union employees of Advance’s daily newspapers “published in newsprint form.” The addition of this fine print set the stage for the arrival of the digital initiative, which began in 2009 at the Newhouse-owned Ann Arbor News in Michigan. Layoffs were now technically permissible under the still-in-force Pledge because that newspaper went from daily to twice-weekly. And in July 2009, 214 jobs were eliminated at the Ann Arbor News.

Advance rescinded The Pledge altogether in February 2010, when the newspaper industry was deep into its long and ugly nosedive.

“We felt that it was the right thing to communicate to people that we could no longer afford not having the flexibility to do something if the revenue challenges continue,” Steven Newhouse told The New York Times in August 2009. “I think the policy was meant for a time when the newspaper business had ups and downs, but was relatively stable. It was not meant for a time when our newspapers, like others, are struggling to survive.”

…

Deadspin, amongst its furious shitposting, and kinda like gawker (when it wasn’t fucking shitty), spoke truth to power.

There is a concerted effort to end that, online and elsewhere.

There’s a concerted effort to control what’s posted online and what information can be freely accessed.

(my bad and shitty theory: The overarching, unifying reasons are power, control & domination. Conservatives want far-left views that threaten them to be vanquished, businesses want preferential treatment to do whatever the fuck they want, the billionaire class want their wealth protected from the guillotines of the working class, the GOP wants political power in perpetuity, Facebook & Google are run by rapacious ghouls and ideologues. ALL OF THEM want control over what becomes public information and #content just for their individual safety from the rebellious unwashed masses, as recent advances in AI will mean a lot less people employed anywhere, and that + climate change = guillotines for the rich.)

TL;DR: Corporate media sucks. Check out Defector.

#long post #scroll alert #news #defector #sporps #journalismism #us press corps #news media #the media #corporate media #gawker is dead #long live gawker #deadspin #g/o media #gawker media #the news business #the way things work

1 note · View note

vijay1225 · 4 days

Text

Global Subscription Billing Management Market Report 2024-2033

Overview and Scope Subscription billing management is the comprehensive process of overseeing and controlling all aspects of recurring products or services sold through subscription-based pricing models. It ensures accurate and timely billing, integrates with payment gateways, and supports multiple pricing models to streamline operations, enhance customer satisfaction, and drive business growth.

Sizing and Forecast The subscription billing management market size has grown rapidly in recent years. It will grow from $6.44 billion in 2023 to $7.66 billion in 2024 at a compound annual growth rate (CAGR) of 18.9%. The growth in the historic period can be attributed to growing demand for customer-centric billing experience, growing popularity of digital subscriptions, increasing need for upgrading legacy systems, expansion in emerging markets, and growing integration of consumer data for enhanced customer experience.

The subscription billing management market size is expected to see rapid growth in the next few years. It will grow to $15.46 billion in 2028 at a compound annual growth rate (CAGR) of 19.1%. The growth in the forecast period can be attributed to growing use of social media, rising inclination towards subscription-based business models, rising adoption of subscription-driven business models, increasing focus of businesses on increasing customer retention by reducing the subscriber churn rate, the need for reduction in complex monetization models and reducing billing errors due to the increase in size of customers. Major trends in the forecast period include product innovation, incorporation of machine learning capabilities, integration of enhanced technologies such as artificial intelligence, internet of things, and blockchain, implementation of cloud billing platforms, advancements in subsciption billing management solutions.

Segmentation & Regional Insights The subscription billing management market covered in this report is segmented –

1) By Component: Software, Services 2) By Deployment: Cloud, On-Premise 3) By Organization Size: Large Enterprises, Small And Medium Enterprises 4) By End-User: Banking, Financial Services, and Insurance (BFSI), Retail And E-Commerce, IT And Telecom, Media And Entertainment, Healthcare, Other End Users

North America was the largest region in the subscription billing management market in 2023. Asia-Pacific is expected to be the fastest-growing region in the forecast period. The regions covered in the subscription billing management market report are Asia-Pacific, Western Europe, Eastern Europe, North America, South America, Middle East, Africa.

Major Driver Impacting Market Growth The growing use of social media is expected to propel the growth of the subscription billing management market going forward. Social media platforms offer a diverse range of content, including text, images, videos, and live streams. With the convenience of accessing social media apps anytime and anywhere, people are spending more time on these platforms to stay connected, entertained, and informed. Subscription billing management for social media enables platforms to diversify revenue streams, improve user engagement, and build long-term relationships with their audience. For instance, in January 2022, according to a report published by We Are Social, a UK-based media agency, and Hootsuite, a Canada-based software company, the global social media user base is projected to reach 4.62 billion in 2022, accounting for approximately 58.4% of the world’s population, reflecting a growth of over 10% in the past year, with 424 million individuals joining social media platforms in 2021. Therefore, the growing use of social media is driving the growth of the subscription billing management market.

Key Industry Players

Major companies operating in the subscription billing management market are Amazon Web Services Inc., Oracle Corporation, SAP SE, Salesforce Inc., Square Inc., Stripe Inc., Zoho Corporation Pvt. Ltd., Recurly Inc., Invoicera Inc., Apttus Corporation, Checkout Inc., Chargebee Inc., Zuora Inc., Aria Systems Inc., Cleverbridge, Muvi LLC, BillingPlatform Corp, RecVue Inc., BluLogix LLC, Tridens Technology, Billsby, LogiSense Corporation, Stax, Chargify LLC, Gotransverse LLC, Pabbly, ChargeOver Inc., Subbly Ltd., BluSynergy

The subscription billing management market report table of contents includes:

1. Executive Summary

2. Subscription Billing Management Market Characteristics

3. Subscription Billing Management Market Trends And Strategies

4. Subscription Billing Management Market — Macro Economic Scenario

5. Global Subscription Billing Management Market Size and Growth . . .

32. Global Subscription Billing Management Market Competitive Benchmarking

33. Global Subscription Billing Management Market Competitive Dashboard

34. Key Mergers And Acquisitions In The Subscription Billing Management Market

35. Subscription Billing Management Market Future Outlook and Potential Analysis

36. Appendix

Explore the trending research reports from TBRC:

0 notes

imsharmauttam · 4 years

Text

Top 10 Successful Online Business Ideas in 2020

Every day many of the individuals are going to start their online business. As you all know that the internet is the biggest platform for Online Research or learning anything very easily. The same Online business is Very creative and successful for all the new creators.

Earn up to 1000$ Everyday with Blogging

What NOT to do with your healthy lifestyle?

The Best and Most Successful Online business ideas according to the research I had given below reading very carefully and then make your decision about which type of online business you’ll be going to start in 2020.

10. Online Stores/ Shops

Online stores are one of the very high profits as well as a successful online business in the world, You may make your online site of product selling. You can sell your own products in it as well as Other Merchant will also able to sell their products from your website.

9. Online Book Writing

If you have good control over typing on Keyboard then you’ll go for the e-book writing. You have to take the projects online and make an e-book and send it to your clients via PDF format or else.

The limitation is that you are a good typer because the e-book contains 100-200 Pages so, you have to type fastly.

Just go any of the online Freelance sites and make your profile there and make your clients and make your money. This is the very simplest and easy form of job in 2020.

Also read:- 5 Thing you may do in Lockdown

Also Read:- Positive Impacts of Coronavirus/COVID-19

8. Training & Online Workshops

Under this job, there is a very high scope of online business and the traffic is very less in this field So, you may easily build your business very well in less time.

If you have good communication skills then you start your own classes, sessions, conferences, Training E.t.c. The youtube Platform gives you the authority to Post Video format posts on every field.

Best ON-Page SEO Tips

Best OFF-Page SEO Tips

In which field you’ll know very well, Make your content and post it on youtube or some other relevant Platforms you may also make your own website Like Udemy which provides their Teaching services Online.

7. Freelance

If you have the knowledge in various or in a particular field then you go for a freelancer as you do jobs at your home. Freelance Jobs is very popular between teenagers as well as every individual who want to start their own business.

Freelance gives you a great responsibility for doing a job in your field. So, the best field you have the knowledge just apply for it on freelance and make your clients happy. The best part is you will make money with this simple step as well as you’ll do your studies as well.

6. Social Media Marketing

SMO (Social media marketing) is the key module of Digital marketing under this you just have to Promote products or anything according to your niche of Social media platforms like Facebook, Pinterest, Twitter, Instagram, E.t.c.

You have to do SEM(Search engine Marketing) SMO(Social Media Optimization) also for doing SMM because you have to know about all strategies of a digital marketer which he does for Promotions.

There are 2 Ways to do SMM

Join the Affiliate Network and Promote your products on social media platforms according to your niche.

Make your clients and Promote his Products on Social media for which you’ll be paid for that.

5. Web-Designing

If you have the knowledge of Web-Development you may go for web designing. You may create or Desing existing Websites for some payment.

There are several online Platforms for doing Web designing or any kind of job like Article Writing, Resume creator, SEO Specialist E.t.c. Some platforms where you can perform your task very well like Fiverr, Freelancer, E.t.c.

You just have to log in to these Platforms and Make your Profile well and then post some type of examples of your work on it, make your charges for doing your job, and send your work online to your clients. The best part is you are your own boss. You have to do all work at your home.

4. Blogging

The Easiest and easy online business/Job in 2020 is Blogging. You have to make your own website and make your blogs and publish it on your Website. If you post around 20-25 articles on your site then you’ll be able to monetize your site with Google Adsense.

Make sure that you are doing proper SEO, SMM, SMO on your site hence articles are not enough for making money you have to get Organic Traffic on your site. And please don’t do any type Black Hat SEO on your site Adsense will Reject you Account.

Write a Money Making Blog in 2020

Note:- If you are going to make your Website the go for Paid Domain And Paid Hosting, For free go for Blogger which is n Google blogging Platform.

3. E-commerce Business

The best and all-time successful business is an E-commerces site. It means selling your products online and get payment also online Like Amazon, Flipkart, Myntra, E.t.c.

For making an E-commerce store you have to make a Responsive Website according to your niche(Which type of Products are promoting on your website).

How to SELL ClickBank Products in 2020 How to Start Facebook Marketing in 2020

After that just Add Products on your site which was gonna sell in the online market. The only drawback is Teamwork for managing or maintaining the E-commerce site you have to make your team as well.

Alone it is very difficult to manage an E-commerce site. Hence if you have a team then it is the most successful online Business of all-time.

2. Digital Marketing/Online Marketing

Digital marketing has not a particular definition but in simple words, it means Make your Money Online or digitally. There are various platforms for earning money online like Website, Social media marketing, Youtube, E.t.c. In fact, All of the above business is also a part of Digital Marketing.

You’ll make money digitally by creating your youtube channel or by creating your Website, Selling products online, Vlogging, Blogging, Online Teaching, Online store, E.t.c.

1. Affiliate Marketing

The first online business is Affiliate Marketing which means Earn By Sharing or referring. Join any Affiliate Program and promote their Products Online on Website, Social Media, E.t.c. It stands to promote your products online from any platform If anyone buys the product from your reference you’ll be paid commission for it.

There are various platforms for joining Affiliate Networks like Clickbank, Amazon Affiliate, MaxBounty, E.t.c.

These are the Top 10 Most Profitable Online Businesses in 2020. If you like the Article then Share it with your friends and comment down below what do you want next.

Also Read:- Best Tips & Tricks for Affiliate Marketing

Also Read:- 5 Ways to QUIT masturbation

#digitalmarketing #5050hub #affiliate marketing #blogging #freelancing

1 note · View note

askagamedev · 5 years

Note

Nintendo announced that they're closing their 2 mobile games in Belgium due to the possible upcoming loot box ban laws. In your opinion, does this have any implications of the future of loot boxes? Also if more loot box laws are passed in more countries, what are the possible effects for small game studios who rely heavily on microtransactions?

It’s kind of important to clarify what’s going on here. Belgium is not banning loot boxes. The Belgian government has declared loot boxes to be gambling, thus legally requiring all game publishers to comply with Belgium’s specific gambling regulations. Many game publishers (like Nintendo) weighed the costs involved and decided to pull their loot box games out of Belgium, rather than spend the resources to bring the games in question into compliance. Some other publishers simply turned off in-app purchases for Belgium.

In the grand scheme of things, Belgium itself is not a big deal. There’s a little over 11 million people in Belgium, most of whom are not playing video games. The number of total customers that are being excluded by this decision are probably in the thousands at most. Those who spend money on loot boxes or gacha games are an even smaller fraction of those. Most publishers don’t even specifically localize for Belgium; it gets included because we localize for Germany and France (each ~7-8x the Belgian population). The money we earn from releasing in Belgium is more like icing than it is cake - a nice bonus, but not something we depend on.

However, there could be greater implications at work here. If other, larger countries follow Belgium’s lead (e.g. Germany, France, UK, etc.), then the EU in general could become more hostile to loot boxes as a mechanic. Publishers aren’t going to turn their backs on that many customers, so they would likely either bring the games into compliance with local gambling laws or they would look for new forms of monetization (e.g. battlepasses and such) that don’t trip on local laws. Doing something like what Epic did with their fortnite loot boxes (i.e. telling you exactly what you’re getting inside each one, but still randomly generating their contents) may be enough to bring them into legal compliance.

It’s also important to note that loot boxes are not the same thing as microtransactions. There is nothing legally wrong with microtransactions by themselves. Battle passes, boosts, weapons, characters, cosmetics, etc. are all fine as long as they aren’t qualified as gambling. This regulation is strictly loot box only. Free games with stamina systems, paid shortcuts, etc. aren’t going anywhere because of the loot box regulations. You may not like them, but they exist entirely outside of the legal scope of gambling.

The FANTa Project is currently on hiatus while I am crunching at work too busy.

[What is the FANTa project?] [Git the FANTa Project]

Got a burning question you want answered?

Short questions: Ask a Game Dev on Twitter

Long questions: Ask a Game Dev on Tumblr

Frequent Questions: The FAQ

#legal implications #Eurozone #Belgium #the business of video games

33 notes · View notes

groowops · 2 years

Text

Best Ad Networks in 2022 To 2025

Ads Network: Best Ad Networks in 2022 To 2025

Best Ad Network: Whenever we talk about the monetization of websites, the first name that comes to mind is Google AdSense. While there's nothing wrong with that—after all, it's the best ad network in the world—it's unwise to assume that Adsense can't be surpassed by any other ad network.

The advertising technology industry is constantly evolving. Therefore, it will not be an exaggeration to say that Google has competitors that can give them a good run for their money.

It may take some hit-and-trial to figure out which ad network, or combination of ad networks, generates the most revenue. However, after figuring this out publishers can work efficiently on monetizing their websites.

View Full Blog On 👉 Blog GroowOps

Top 10 Best Ad Network Right Now

We've compiled a list of the best ad networks to help publishers choose the ad network that's right for them:

1. Adsterra - Best Ad Network

Adsterra is a trusted ad network with partner care, delivering over 30 billion ad impressions per month worldwide. It is renowned for its experienced and qualified team, unparalleled direct traffic from around the world, three levels of anti-fraud protection, and a wide range of ad formats and payment methods.

Most recently, Adsterra recorded over 100K campaigns delivering over 30 billion impressions per month across 248 geographic regions.

Publishers can monetize any traffic with Adsterra: desktop/mobile website traffic or social/mobile app traffic with Adsterra. A significant positive of this ad network is that publishers can choose from its many ad formats: popunder, social bar (total blast!), in-page push, native, banner, VAST (pre-roll video).

Join Now: Adsterra

Work: CPC, CPM, CPI, CPA, CPL

Minimum traffic: none

2. PopAds - Best Ad Network

PopAds is a pop-under ad network that is known to be relatively faster and more secure than others like it. It gives publishers a means to monetize their website traffic with the help of high-quality pop-under ads.

One advantage for publishers is that it allows payment on request and access to advertisers in over 40 countries. As a result, it provides publishers with a wider scope when it comes to keyword choice and targeting to effectively monetize the traffic in their niche.

Join Now: Popads

Work: CPV, CPM

Minimum traffic: None

3. PropellerAds - Best Ad Network

PropellerAds supports banner ads in all standard sizes in addition to on-click and in-banner video ad formats, such as 728×90, 300×250, 160×600, and 120×600. Therefore, if the ads are strategically placed, publishers can expect up to $1–2 in CPM for US and UK inventory.

They have 70,000 active campaigns worldwide and perform manual checks to remove all unsafe and suspicious advertisers, ensuring high ad quality. In addition, publishers benefit from 100% monetized inventory, in-time payouts, a personal account manager, and detailed real-time reporting.

Join Now: PropellerAds

Work: CPM, CPC, CPA

Minimum traffic: none

4. Media.net - Best Ad Network

Media.net Yahoo! Presents advertisements. Bing contextual advertising network, which includes a large pool of national and local advertisers. It ensures a 100% fill rate across all verticals and ad formats. Some of Media.net's publishers include Forbes, Elle, Reuters, Cosmopolitan, and CNN.

The ad network supports standard IAB ad sizes and has access to high-quality ads from all major DSPs. In addition, the Media.net display unit supports desktop interstitial, in-content native, contextual ads, and mobile docked ads.

Join Now: Media.net

Work: CPM, CPC, CPA

Minimum traffic: none

5. ClickAdu - Best Ad Network

ClickAdu is one of the best digital ad networks for publishers to maximize revenue. They deliver over 2.5 billion impressions per day with an active base of 2000 publishers and 15,000 campaigns.

In addition, the ad network offers high CPM based in over 240 countries with the assurance of a 100% ad fill rate. Pop-up ads, videos, and pre-roll ads are the most common ad formats they offer.

Above all, the ad network is also soon going to introduce display banner ads which can provide a good CPM-based model for publishers.

Join Now: ClickAdu

Work: CPM

Minimum traffic: none

View More On Blog GroowOps

Why are ad networks important?

Additionally, ad networks are known to work efficiently to sell the rest of the advertising inventory. Ad networks take the remaining inventory from multiple publishers, segregate them by demographics, and sell the segmented impressions specifically to advertisers looking for similar impressions.

Doing so ensures that publishers' inventory reaches the right advertiser on time. By now it is clear that ad networks are essential for publishers.

1. What is an Ad Network?

Ad networks are known to work efficiently to sell leftover advertising inventory. Ad networks take the remaining inventory from multiple publishers, segregate them by demographics, and sell the segmented impressions specifically to advertisers looking for similar impressions.

#Best Ad Networks in 2022 To 2025 #Best Ad Networks in 2022 To 2025Best Ad Networks in 2022 To 2025 #Best Ad Networks in 2022 #best ad networks #best ad network #advertising #tumblr ads #ad #ad network #artists on tumblr #tumblr #tumblr themes #tumblr trends #make #make money onlline #makemoneyonline #make money #fashion

0 notes

retrieveguide · 2 years

Text

5 Reasons Why You Should Consider Content Monetization Platforms

Smart content creators rise above the traditional techniques of income generation. They look for opportunities to monetize content and garner as many revenue streams as possible. So whether it is selling merchandise or using affiliate links in the content, smart content creators are aware that income can be generated from multiple sources.

Content monetization has enabled publishers and content creators to earn money from the content they create. In turn, content creation has transcended merely being a hobby; now, it’s a business opportunity, and the competition in the creator economy is fierce.

But how do you monetize content?

There is a list of tools to get started. A few of the most common methods to earn money as a content creator are collaborating with brands, integrating ads and affiliate links in your content, and using third-party channels such as content monetization platforms like Retrieve, Patreon, Kajabi.

Read : How to Make Money as a Content Creator

Now that you know the different sources of revenue for creators, let’s talk about one of the methods of monetization that is gaining popularity rapidly: Content monetization platforms.

What are content monetization platforms?

Content monetization platforms are third-party channels for professional creators to convert their content into money-making opportunities directly from their fan base. It enables creators to sell exclusive content to their fans on a pay-to-consume basis. A few content monetization platforms, such as Retrieve, further add a paywall to direct messaging between you and fans, thus enabling monetization wherever possible.

Why should you consider this method?

There are several benefits of using content monetization platforms, including:

Top Reasons You Should Consider Content Monetization Platforms

1. Saves time to create new content

Not all content monetization platforms force you to pump out new content every week. In fact, with platforms like Retrieve, you only need to invest time and effort once, as you can sell the guide or product created from your content for months or even years.

Not to mention, these content monetization platforms don’t use algorithms like YouTube and other social sites, so creating content is much easier and doesn’t require as much editing—all the focus is on pure knowledge, not if the first 10 seconds are catchy enough.

Therefore, by using content monetization platforms, you save up additional time for creating new content and can instead utilize the time in carrying out other activities such as marketing, contacting brands, engaging with your audience, and so on.

2. Easy to set up and get started

Setting up your channel on a content monetization platform is straightforward. A few platforms provide creators with experts to help you set up your channel. Additionally, the interface of most of the content monetization platforms is rudimental, with a bunch of monetization tools to enable creators to gain maximum income generation scopes.

So, get started today and set up your account on a content monetization platform!

3. Additional income opportunity

Digitalization has empowered creators in such a way that an increasing number of people are consuming content online. This has paved the way for an increase in income generation opportunities for creators. But given the fierce competition in the creator economy, relying on one source of revenue for creators is not sustainable, especially if you as a creator wish to make a living off of it.

By staying vigilant, you learn that smart content creators have multiple sources of revenue. By setting up your account on a content monetization platform, you open an additional opportunity to earn income. Apart from the brand deals, ads, and other traditional means of income generation, ensure to add a content monetization platform to yield maximum benefits of content creation.

4. Building a community of learners

The highlight of content monetization platforms is the ease of one-on-one communication with your audience and building a community of like-minded fans. While social media is one way of community-building, it might not always be easy. If you wish to maintain relations with your fans, consider content monetization platforms.

Platforms like Retrieve smoothen out fan interaction by providing you with multimedia support, wherein you interact with your fans by forming communities, conducting live sessions, indulging in one-on-one chats in the form of audio/video/text, taking part in group chats, and more. Additionally, the auto-reply feature is the icing on the cake.

5. Free to join with no hidden costs

Usually, the initial investment for content creation is almost negligible. A basic camera, a space to create content, and free editing tools usually suffice. But when you grow further in your creator journey, you invest in a heavy-duty camera, professional lighting, and supplementary paid tools to sustain the increasing demand from your fans.

So when you’re seeking additional income opportunities to support the ever-growing demands of your channel, you wish to cut down on costs wherever possible.

One perk of content monetization platforms is that they are free to join. Platforms like Retrieve have no hidden benefits to unlock additional features. With a revenue-share model, the platform earns only when the creator earns.

Final word

Making money from content creation is seemingly one of the major goals for creators. Whether you run a YouTube channel or a blog, monetizing your content should be a requisite for your business to sustain for a longer run.

There are several techniques to make money as a content creator. Besides ad service providers that let you monetize content by displaying ads on your channels, there are other compelling ways to make money as a content creator, such as content monetization platforms.

With the benefits mentioned above, we hope you leap in your creator journey by setting up an account on a content monetization platform. Check out Retrieve.com and get started today!

#creator economy #earn money as a content creator #sources of revenue for creators #sources of revenue #make money as a content creator

0 notes

illuminz · 3 years

Text

In-App Advertising: Your Quick Guide In 2021!

By 2023, mobile ad spending will hit a colossal $400 billion, with consumers spending more than five hours everyday on mobile applications on average.

These figures illustrate how understanding in-app advertisements could help company owners and mobile app developers expand their business and increase revenues.

In-app advertisement is the fastest-growing form of mobile advertising on the market for a reason — about 90% of the time a person is on a phone, he/she is using one app or another.

But that's not all; in-app advertisement often provides advertisers with benefits that other mediums cannot, such as excellent data tracking and laser-focused consumer targeting.

You see, mobile phones are personal devices.

And that’s what makes them such a valuable platform for gathering consumer data for targeting particular markets and achieving outstanding campaign results.

When paired with audience data, you can target particular audiences to determine where they spend most of their mobile device time.

And now, let’s explore why In-App Advertising is gaining popularity over any other form of monetization options available.

What Is In-App Advertising?

In-app advertising is a targeting and monetization tool for mobile app developers and marketers in which marketers pay to place ads in their apps.

These in-app advertisements are delivered by app advertising networks, connecting and allowing app developing companies to work with ad publishers or advertisers.

While these advertisements come in various types and formats such as display ads, native ads, or even video ads — the mobile app developers & entrepreneurs can select any format to optimize their app's monetization mechanism.

Let’s Talk Number: Stats On In-App Advertising

According to projections of high annual growth, global in-app advertising revenues are expected to nearly double to $226 billion by 2025 compared to $117 billion in 2020.

Apps today account for as much as 90% of time spent on smartphones

As compared to mobile internet, which accounts for the remaining 10%, apps have a higher click-through rate (CTR).

This makes in-app ads an essential strategy for today's marketer, as it allows for specialized targeting within a closed ecosystem, as well as expanded engagement and campaign data tracking.

Even the most minor smartphone advertisement strategy can propel an app ahead of its rivals. In-app advertising gives it the ability to advertise a company to thousands of consumers and generate premium traffic.

It is undeniably possible to achieve a spectacular ROI from in-app ads.

Types Of In-App Advertisements

Well, there are eight types of In-app advertisements in total, which we have defined below for your utmost understanding. These ads can be divided into two broad categories — Display Ads & Video Ads.

Display Ads

Advertisers may use in-app show advertisements to expand the scope of their campaigns in the in-app world. These formats provide users a personalized discovery experience based on the app's context and the user's behaviors and interests.

Native Ads

Native advertisements, as the name implies, have the same look and sound as non-advertising content units within an app. This results in a convenient and non-disruptive user experience in which ads are perceived as natural in-app material and helpful recommendations or concepts.

Interstitial Mobile Ads

During a content break within the app, interstitial show advertisements appear on the full-screen. These advertisements are one of the most engaging in-app ad formats since they take up the whole screen, ensuring that they get enough time to look at the offering.

Banner Ads

The Banner ad is the original mobile ad style. Despite their limited size, these commercials have an extensive reach, making them an effective way to raise brand awareness.

2. Video Ads

Mobile video advertising is an essential component of any effective advertising campaign that targets consumers on mobile devices. They successfully offer immersive brand communications by leveraging the unique attributes of mobile devices.

In-Stream PreRoll Video Ads

Pre-roll videos in the app's native video player play before, after, or after main video content.

This ad format is common among app publishers that provide video material within the application. Since smartphone video viewership is quickly rising, pre-roll video advertisements are becoming a more common and successful way to capture consumers' attention.

Outstream Video Ads

Outstream ads are embedded in in-app content (for example, within images or paragraphs of text), and the ad starts playing automatically once it enters the app's viewable space. Since these commercials only play they are visible to the consumers, thus, they have a high viewability score.

Interstitial Video Ads

These are full-screen videos that occur after a typical break within the program, such as finishing a level in a smartphone game.

Advertisers want this immersive ad style because it takes up the whole screen, catching the user's attention and encouraging the advertisement to tell a compelling story.

Rewarded Video Ads

Rewarded video ads are often included as part of a gaming app's offering, allowing players to earn virtual merchandise or money that advances the game in exchange for viewing a video ad.

Advertisers may use rewarded videos to get more conscious clicks and high-quality conversions. This ad format has the highest viewability ratings of any mobile ad format since it is opt-in.

Pros Of In-App Advertisement

Increased Time Spent On Mobile Devices by Consumers

2 billion people now use their smartphones to access the internet. That's the equivalent of 51% of all smartphone devices on the planet. In only 6 years, 72% of all internet users will use handheld devices to access the internet.

Mobile Apps Reach A Broader Audience

For many years, internet traffic from mobile devices has outpaced traffic via desktop computers.

In-App Advertising Is A Better Buy

CPCs on mobile devices are 24% less expensive than laptop clicks. The CTR for phone-based advertising is 40% higher. Moreover, about 35% of mobile and tablet shoppers shop at least once a week, compared to just 15% of laptop users.

It Gives Geo-Targeting Capabilities

With the help of In-App Advertisements, mobile app developers & entrepreneurs can take advantage of the location data mobile phones provide. They can enrich their marketing campaigns with Geo-Targeting features because of precise latitude and longitude data with a holistic view of location.

A Wider Scope Of Targeting

Mobile also allows for position marketing in ways that personal computers cannot. Furthermore, since users are more likely to bring their handheld devices with them than their personal computers, advertisers have more chances to target them.

Cons Of In-App Advertisement

Highly Competitive Channel

Since more and more marketers are looking to position advertisements with their apps, it has turned into a much more lucrative and costly advertisement platform.

Niche Oriented

Mobile app advertisements may not be the right marketing match for your brand if your target audience isn't a savvy mobile user or doesn't want to use app material. Thus, you will not get enough click-through rates!

Conclusion

If you haven't dedicated a large portion of your digital advertising budget to smartphone ads, you're losing out on a competitive traffic stream!

Well, it’s true, whosoever is your target audience, from Baby Boomers to teens, CEOs to Yuccies (Young Urban Creatives), everybody is on their phones these days — we believe your ads should be there too!

#In-App Advertisement #mobile app development #mobile app development company #Native Ads #Illuminz

0 notes