Hitwise has leveraged its data sets and shown that 1 Facebook fan is apparently equal to 20 additional visits to a retailer’s website over the course of a year. So, if you have 1,000 Facebook fans, that means an extra 20,000 visits to your site.
Archive for June, 2011
“Yes, we will need to lose some people and will try to do it in a voluntary way,” [Guardian editor-in-chief Alan Rusbridger] told BBC Radio. “We will need to lose significant numbers but we don’t need to do it tomorrow. We can do it over the next couple of years and have a civilized conversation about that.”
He said the company needs “to reduce the cost base” in order to hire more digital developers, as it has watched its print advertising revenue recede.
The collective intelligence of the Internet’s two billion users, and the digital fingerprints that so many users leave on Web sites, combine to make it more and more likely that every embarrassing video, every intimate photo, and every indelicate e-mail is attributed to its source, whether that source wants it to be or not. This intelligence makes the public sphere more public than ever before and sometimes forces personal lives into public view.
In a nutshell, Arrington claims he had a scoop that Caterina Fake was launching yet another startup, and reached out to her. But before he could publish, she spilled the beans on her own blog. This led Arrington to write an angry post, and in doing so dish dirt he’d apparently been sitting on as to what he claims is the real reason Caterina Fake left Hunch
Because making a blockbuster movie is expensive, people assume that it is a scale business—that is, the bigger you are, the more cheaply you can produce something. But the defining characteristic of scale is high fixed costs that can be spread most efficiently by the largest player. Moviemaking is not this kind of business. The cost of a blockbuster does not vary based on the size of the studio producing it. Creating hit-driven content in any medium does not require significant fixed costs. Some series-based or other kinds of continuously produced content may have a larger fixed-cost component, but they are the exception, not the rule. Aggregation, on the other hand, by its nature requires a large fixed-cost infrastructure to collect, manage, market, and redistribute content. This is why a cable channel with 20 million subscribers loses money but an identical one with 100 million subscribers might have 50 percent margins.