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Ninja is leaving Twitch for Microsoft’s Mixer

Tyler “Ninja” Blevins, the biggest streamer ever, has today announced his intention to leave the Twitch platform in favor of Microsoft’s Mixer.

Twitch is far and away the biggest video game streaming platform on the internet, claiming 72% of all hours watched, according to StreamElements. Mixer, by comparison, owns 3%, which is approximately 112 million viewership hours this most recent quarter.

Mixer is owned by Microsoft following an acquisition in 2016, back when Mixer was called Beam. Interestingly enough, Beam won the Disrupt NY Battlefield competition in 2016.

Twitch offered this statement to the Verge:

We’ve loved watching Ninja on Twitch over the years and are proud of all that he’s accomplished for himself and his family, and the gaming community. We wish him the best of luck in his future endeavors.

Surprisingly quickly, Twitch took away Ninja’s “Partnered” check mark, the Twitch equivalent of a verified blue tick.

Damn they snagged this mans checkmark QUICK pic.twitter.com/Br62NB8uX5

— 100T Mako 🗣💯 (@Mako) August 1, 2019

Ninja announced the news via video:

The announcement is very light on reasons why Ninja might have moved from his longtime home at Twitch over to Microsoft. It’s possible (and likely?) that Mixer offered the streaming star an enormous amount of money to make the move, which could signal the beginning of a new wave of payouts for mega streaming stars — not unlike the current NBA free agency bonanza, which has seen the migration of superstars to marquee franchises in order to form basketball equivalents of supergroups.

It’s also worth wondering who reigns supreme in this equation: players or platforms? Luckily, we’ll find out quickly as the video game streaming space sees its biggest talent shakeup since the industry’s inception.

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The need-to-know takeaways from VidCon 2019

VidCon, the annual summit in Anaheim, CA for social media stars and their fans to meet each other drew over 75,000 attendees over last week and this past weekend. A small subset of those where entertainment and tech executives convening to share best practices and strike deals.

Of the wide range of topics discussed in the industry-only sessions and casual conversation, five trends stuck out to me as takeaways for Extra Crunch members: the prominence of TikTok, the strong presence of Chinese tech companies in general, the contemplation of deep fakes, curiosity around virtual influencers, and the widespread interest in developing consumer product startups around top content creators.

Newer platforms take center stage

GettyImages 1161447217

Photo by Jerod Harris/Getty Images

TikTok, the Chinese social video app (owned by Bytedance) that exploded onto the US market this past year, was the biggest conversation topic. Executives and talent managers were curious to see where it will go over the next year more than they were convinced that it is changing the industry in any fundamental way.

TikTok influencers were a major presence on the stages and taking selfies with fans on the conference floor. I overheard tweens saying “there are so many TikTokers here” throughout the conference. Meanwhile, TikTok’s US GM Vanessa Pappas held a session where she argued the app’s focus on building community among people who don’t already know each other (rather than being centered on your existing friendships) is a fundamental differentiator.

Kathleen Grace, CEO of production company New Form, noted that Tik Tok’s emphasis on visuals and music instead of spoken or written word makes it distinctly democratic in convening users across countries on equal footing.

Esports was also a big presence across the conference floor with teens lined up to compete at numerous simultaneous competitions. Twitch’s Mike Aragon and Jana Werner outlined Twitch’s expansion in content verticals adjacent to gaming like anime, sports, news, and “creative content’ as the first chapter in expanding the format of interactive live-streams across all verticals. They also emphasized the diversity of revenue streams Twitch enables creators to leverage: ads, tipping, monthly patronage, Twitch Prime, and Bounty Board (which connects brands and live streamers).

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Twitch continues to dominate live streaming with its second-biggest quarter to date

Twitch continues to lead rivals including, YouTube Live, Facebook Gaming and Microsoft’s Mixer, when it comes to live-streaming video. Despite experiencing its first decline in hours watched in Q2 2019, the Amazon-owned game-streaming site still had its second-biggest quarter to date, with more than 70% of the hours watched during the quarter.

According to a new report from StreamElements, Twitch viewers live-streamed a total of 2.72+ billion hours in Q2 — or 72.2% of all live hours watched — compared with 735.54 million hours on YouTube Live (19.5%), 197.76 million on Facebook Gaming (5.3%) and just 112.29 million hours (3%) on Mixer.

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Combined, the total hours watched across all four platforms was 3.77 billion in Q2.

While none of Twitch’s rivals are nearly catching up, YouTube Live did have a good month in May, breaking its own record with 284 million hours watched. Overall, YouTube Live’s hours watched improved in Q2 as a result, while Twitch saw a slight decline.

Facebook Gaming is also gaining steam. It’s now the third-biggest live-streaming platform, having passed Microsoft Mixer.

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Despite its traction, Twitch doesn’t have much of a long tail when it comes to stream viewership. That’s a problem it has faced for some time, as newcomers complained they spent years broadcasting to no one in hopes of gaining a fan base, with little success. Twitch has tried to remedy this problem with various educational efforts as well as product features like Raids and Squad Streams, for example.

However, the new report finds that the majority (almost 75%) of Twitch’s viewership still comes from people tuning in to the top 5,000 channels. Out of the 2.7 billion hours watched in Q2, these top 5,000 channels drove 2 billion of those hours watched.

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In addition, the average concurrent viewership (viewers watching at the same time) of the top 5,000 channels increased by 12% in Q2 2019, compared with Q1. The top 200 channels have the highest concurrent viewership with 10,590 people watching together, on average.

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Also in the quarter, viewership of top titles like Fortnite, League of Legends, Dota 2 and Counter-Strike: Global Offensive declined, while vlogging — aka “Just Chatting” — grew, along with other titles.

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Esports, meanwhile, still draws big numbers, but represents only a small slice of the overall pie.

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The full report, which takes a look at other trends, including which streamers are gaining and losing popularity, is available here.

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Amazon’s Twitch acquired social networking platform Bebo for up to $25M to bolster its esports efforts

While Facebook makes a bold move into cryptocurrency to capitalise on its multi-billion user base, a social network that was once a credible competitor to it has quietly been snapped up by a subsidiary of Amazon. TechCrunch has learned and confirmed that Bebo, one of the earlier platforms to let people share thoughts and media with their friends, has been acquired by Twitch, the streaming video platform owned by Amazon. Together the two will be working on building out Twitch’s esports business, and specifically Twitch Rivals.

A spokesperson for Twitch confirmed the acquisition, which includes both people (around 10 employees) and IP, but declined to provide further comment.

From what we understand from our sources, Twitch paid up to $25 million for the company earlier this month, after beating out at least two other bidders, Discord (which itself has been building out its own esports business), and… wait for it… Facebook. (Our source says the latter offered $20 million.) Indeed, LinkedIn profiles for ex-Bebo employees — see here, here, and here — now at Twitch note June as the changeover date. (Note: original sources say $25 million, others close to the deal say it was materially less than this. As you know, these things can be described differently depending on who is doing the describing.)

It has been a long and winding road for Bebo over the years. Starting out way back in 2005 by Michael and Xochi Birch as an early social networking site, Bebo quickly became the market leader in a couple of English-speaking countries, specifically UK and Ireland.

Bebo’s growth trajectory and the bigger opportunity in social were enough to get it acquired for about $850 million by AOL back in 2008, apparently beating out a number of other interested large tech and media companies interested in getting their own social media platform and the audience that would come with it (disclaimer: AOL eventually also acquired TechCrunch, too).

But the deal was a certifiable dud, with Bebo never managing to build on its early traction, and AOL not being in a position to know how to fix that. Less than two years later, it was sold on to Criterion Capital for $25 million.

Yet as the social wheels continued to turn, and even once-global market leader MySpace also fell back as Facebook, Twitter, Instagram and other mobile-friendly platforms pulled out ahead, even that $25 million price turned out to be too high. After Bebo filed for Chapter 11 bankruptcy protection, the original founders, the Birches, bought it back in 2013 for $1 million with a pledge to reinvent it.

And so they did, putting in place a small team led by Shaan Puri, who worked on a number of ideas to see which of them could fly. (And I don’t know if this was a tongue in cheek joke about how challenging they knew the task would be, but it seems that the holding company set up to house some of the IP and legal aspects of the endeavor was called “Pigs in Flight.”)

The new app studio effort, which went by the name Monkey Inferno (another great one), came out of the gates with “Blab”, a “walkie-talkie” ephemeral video messaging service, which picked up millions of users quickly but found it hard to retain them. It shut down a year later, and it looks like Monkey Inferno dabbled in a few other things before coming to esports.

From social networking to socialising esports

In that last pivot, Bebo first tried out streaming services for esports players, but that proved to be tough competition against dominant platforms like OBS and Xsplit. Then, in an interesting nod to its earlier history in social networking and organising groups of friends, it shifted once more, into organising and running tournaments for streamers, with leagues and more: the streams ran on Twitch and Bebo organised viewers, leagues and other things around that.

That site, Bebo.com, is now offline, and all its tweets seem to have been deleted, but the idea was to build out leagues and tournaments for any and all kinds of groups and players, for example complete beginners, or high school students.

It was the last of these that turned out to line up with a growing market segment.

According to a report in eMarketer, esports attracted some 400 million users in 2018 and pulled in revenues of $869 million from sponsorships, player fees and advertising, and it is projected to be worth between $1.58 billion and $2.96 billion by 2022. And Bebo was helping organise and build those communities.

And that is now linking up neatly with Twitch, which had been developing its own casual esports operation in the form of Twitch Rivals. This launched in beta in 2018 and is now widely available wherever Twitch is.

The Bebo tech and its team are now both being put to use on Twitch Rivals, to help continue expanding it with more features and more users. To be clear, though, it seems there is no intention — from what I understand — to parlay Bebo’s past efforts in social networking into a wider social networking play at Twitch: the focus is on esports.

Still, the acquisition comes at a key moment. Since January, there have been reports that Amazon is working on a new game streaming service (just like Apple, Google and others), which likely won’t be out until next year. While there is no news on that today, you can see how expanding the variety and breadth of content on Twitch by way of esports leagues and tournaments fits in with a wider effort to bring more regular, engaged users into the Amazon fold, using this as one of the big draws.

(Updated with more detail on the price.)

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Startups net more than capital with NBA players as investors

Mary Ann Azevedo
Contributor

Mary Ann Azevedo covers startups and tech at Crunchbase News.

If you’re a big basketball fan like me, you’ll be glued to the TV watching the Golden State Warriors take on the Toronto Raptors in the NBA finals. (You might be surprised who I’m rooting for.)

In honor of the big games, we took a shot at breaking down investment activities of the players off the court. Last fall, we did a story highlighting some of the sport’s more prolific investors. In this piece, we’ll take a deeper dive into just what having an NBA player as a backer can do for a startup beyond the capital involved. But first, here’s a chart of some startups funded by NBA players, both former and current.

 

In February, we covered how digital sports media startup Overtime had raised $23 million in a Series B round of funding led by Spark Capital. Former NBA Commissioner David Stern was an early investor and advisor in the company (putting money in the company’s seed round). Golden State Warriors player Kevin Durant invested as part of the company’s Series A in early 2018 via his busy investment vehicle, Thirty Five Ventures. And then, Carmelo Anthony invested (via his Melo7 Tech II fund) earlier this year. Other NBA-related investors include Baron DavisAndre Iguodala and Victor Oladipo, and other non-NBA backers include Andreessen Horowitz and Greycroft.

I talked to Overtime’s CEO, 27-year-old Zack Weiner, about how the involvement of so many NBA players came about. I also wondered what they brought to the table beyond their cash. But before we get there, let me explain a little more about what Overtime does.

Founded in late 2016 by Dan Porter and Weiner, the Brooklyn company has raised a total of $35.3 million. The pair founded the company after observing “how larger, legacy media companies, such as ESPN, were struggling” with attracting the younger viewer who was tuning into the TV less and less “and consuming sports in a fundamentally different way.”

So they created Overtime, which features about 25 to 30 sports-related shows across several platforms (which include YouTube, Snapchat, Instagram, Facebook, TikTok, Twitter and Twitch) aimed at millennials and the Gen Z generation. Weiner estimates the company’s programs get more than 600 million video views every month.

In terms of attracting NBA investors, Weiner told me each situation was a little different, but with one common theme: “All of them were fans of Overtime before we even met them…They saw what we were doing as the new wave of sports media and wanted to get involved. We didn’t have to have 10 meetings for them to understand what we were doing. This is the world they live and breathe.”

So how is having NBA players as investors helping the company grow? Well, for one, they can open a lot of doors, noted Weiner.

“NBA players are very powerful people and investors,” he said. “They’ve helped us make connections in music, fashion and all things tangential to sports. Some have created content with us.”

In addition, their social clout has helped with exposure. Their posting or commenting on Instagram gives the company credibility, Weiner said.

“Also just, in general, getting their perspectives and opinions,” he added. “A lot of our content is based on working with athletes, so they understand what athletes want and are interested in being a part of.”

It’s not just sports-related startups that are attracting the interest of NBA players. I also talked with Hussein Fazal, the CEO of SnapTravel, which recently closed a $21.2 million Series A that included participation from Telstra Ventures and Golden State Warriors point guard Stephen Curry.

Founded in 2016, Toronto-based SnapTravel offers online hotel booking services over SMS, Facebook Messenger, Alexa, Google Home and Slack. It’s driven more than $100 million in sales, according to Fazal, and is seeing its revenue grow about 35% quarter over quarter.

Like Weiner, Fazal told me that Curry’s being active on social media about SnapTravel helped draw positive attention and “add a lot of legitimacy” to his company.

“If you’re an end-consumer about to spend $1,000 on a hotel booking, you might be a little hesitant about trusting a newer brand like ours,” he said. “But if they go to our home page and see our investors, that holds some weight in the eyes of the public, and helps show we’re not a fly-by-night company.”

Another way Curry’s involvement has helped SnapTravel is in terms of the recruitment and retainment of employees. Curry once spent hours at the office, meeting with employees and doing a Q&A.

“It was really cool,” Fazal said. “And it helps us stand out from other startups when hiring.”

Regardless of who wins the series, it’s clear that startups with NBA investors on their team have a competitive advantage. (Still, Go Raptors!)

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Fundraising 101: How to trigger FOMO among VCs

Let’s go beyond the high-level fundraising advice that fills VC blogs. If you have a compelling business and have educated yourself on crafting a pitch deck and getting warm intros to VCs, there are still specific questions about the strategy to follow for your fundraise.

How can you make your round “hot” and trigger a fear of missing out (FOMO) among investors? How can you fundraise faster to reduce the distraction it has on running your business?

“You’re trying to make a market for your equity. In order to make a market you need multiple people lining up at the same time.”

Unsurprisingly, I’ve noticed that experienced founders tend to be more systematic in the tactics they employ to raise capital. So I asked several who have raised tens (or hundreds) of millions in VC funding to share specific strategies for raising money on their terms. Here’s their advice.

(The three high-profile CEOs who agreed to share their specific playbooks requested anonymity so VCs don’t know which is theirs. I’ve nicknamed them Founder A, Founder B, and Founder C.)

Have additional fundraising tactics to share? Email me at eric.peckham@techcrunch.com.

Table of Contents

You need to create a market for your shares

“You’re trying to make a market for your equity. In order to make a market, you need multiple people lining up at the same time.”

That advice from Atrium CEO Justin Kan (a co-founder of companies like Twitch and former partner at Y Combinator) was reiterated by all the entrepreneurs I interviewed. Fundraising should be a sprint, not a marathon, otherwise the loss of momentum will make it more difficult.

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Delane Parnell’s plan to conquer amateur esports

Most of the buzz about esports focuses on high-profile professional teams and audiences watching live streams of those professionals.

What gets ignored is the entire base of amateurs wanting to compete in esports below the professional tier. This is like talking about the NBA and the value of its sponsorships and broadcast rights as if that is the entirety of the basketball market in the US.

Los Angeles-based PlayVS (pronounced “play versus”) wants to become the dominant platform for amateur esports, starting at the high school level. The company raised $46 million last year—its first year operating—with the vision that owning the infrastructure for competitions and expanding it to encompass other social elements of gaming can make it the largest gaming company in the world.

I recently sat down with Founder & CEO Delane Parnell to talk about his company’s formation and growth strategy. Below is the transcript of our conversation (edited for length and clarity):

Founding PlayVS

Eric P: You have a fascinating background as a serial entrepreneur while you were a teenager.

Delane P.: I grew up on the west side of Detroit and started working at the cell phone store of a family friend when I was 13. When I turned 16 or so, I joined two guys in opening our own Metro PCS franchise. And then two additional franchises. And I was on the founding team of a car rental company called Executive Rental Car.

Eric P: And this segued into tech startups after meeting Jon Triest from Ludlow Ventures?

Delane P: He got me a ticket to the Launch conference in SF, and that experience inspired me to start a Fireside Chat series in Detroit that brought in people like Brian Wong from Kiip and Alexis Ohanian from Reddit to speak. Starting at 21, I worked at a venture capital firm called IncWell based in Birmingham, Michigan then joined a startup called Rocket Fiber.

We were focused on internet infrastructure – this is 2015-ish – and I was appointed to lead our strategy in esports. So I met with many of the publishers, ancillary startups, tournament organizers, and OG players and team owners. Through the process, I became passionate about esports and ended up leaving Rocket Fiber to start a Call of Duty team that I quickly sold to TSM.

Eric P: What then drove you to found PlayVS? Did it seem like an obvious opportunity or did it take you a while to figure it out?

Delane P.: What esports means is playing video games competitively bound to governance and a competitive ruleset. As a player, what that experience means is you play on a team, in a position, with a coach, in a season that culminates in some sort of championship.

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Pro gamer Tfue files lawsuit against esports org over ‘grossly oppressive’ contract

Turner “Tfue” Tenney, one of the world’s premier streamers and esports pros, has filed a lawsuit against esports organization Faze Clan over a “grossly oppressive, onerous and one-sided” contract, according to THR.

The complaint alleges that Faze Clan’s Gamer Agreement relegates up to 80% of the streamer’s earnings from branded content (sponsored videos) to Faze Clan, and that the contract hinders Tfue from pursuing and earning money from sponsorship deals that Faze Clan hasn’t approved.

Tfue’s lawyer, Bryan Freedman of Freedman + Taitelman, took the complaint to the California Labor Commissioner with issues that span far beyond financial contracts. Freedman wrote that Faze Clan takes advantage of young artists and actually jeopardizes their health and safety, noting an incident where Tfue was allegedly pressured to skateboard in a video and injured his arm. Freedman also wrote that Faze Clan pressured Tfue to live in one of its homes where he was given alcohol before being 21 years old, and encouraged to illegally gamble.

From the complaint:

In one instance, Tenney suffered an injury (a deep wound that likely required stitches) which resulted in permanent disfigurement. Faze Clan also encourages underage drinking and gambling in Faze Clan’s so-called Clout House and FaZe House, where Faze Clan talent live and frequently party. It is also widely publicized that Faze Clan has attempted to exploit at least one artist who is a minor.

Faze Clan issued the following statement on Twitter following the news:

A follow-up from FaZe Clan on today’s unfortunate situation. pic.twitter.com/qm6sK8v88B

— FaZe Clan (@FaZeClan) May 21, 2019

Faze Clan claims that it has taken no more than 20% of Tfue’s earnings from sponsored content, which amounts to a total of $60,000. The owner of Faze Clan, Ricky Banks, took to Twitter to make his case, showing the incredible growth of Tfue’s popularity across Twitch and YouTube since signing with Faze Clan.

I recruited Tfue to FaZe Clan in April of 2018. These are graphs from both his YouTube & Twitch channels following the mark of our relationship. pic.twitter.com/c7m3QwsoTZ

— FaZe Banks (@Banks) May 20, 2019

As it stands now, Tfue boasts more than 120 million views on Twitch, more than 10 million YouTube subscribers and 5.5 million followers on Instagram.

Banks also reiterated Faze Clan’s official statement saying that the company has taken 20% of Tfue’s earnings from branded deals, totaling $60,000.

OK LAST TWEET – To clarify Turners contract does outline splits in prizes, ad revenue, stuff like that. But again we’ve collected absolutely none of it with no plans to and that was very clear to him. We have collected a total of $60,000 from 300k in brand deals (20%). That’s it

— FaZe Banks (@Banks) May 20, 2019

The Tfue claim, however, seems to take issue with the content of the agreement, not necessarily its execution, and the general legality of these types of gamer agreements across the esports landscape. Moreover, the complaint alleges that Tfue lost potential earnings due to his agreement with Faze Clan and their own conflicts of interest with various brands interested in a sponsorship.

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Printify raises $3M to expand its marketplace for custom printing

In Riga, Latvia, an 80-person startup called Printify is reimagining the on-demand printing business.

Gone are the days where small merchants have to sell their customized products on platforms like Zazzle, Society6, CafePress or Teespring . Using Printify, e-commerce business owners can create clothes, accessories and more fixed with their designs, logos, art or photos, then sell them directly on their very own online stores.

The “first wave” of on-demand printing companies, Printify founder and chief executive officer James Berdigans explained to TechCrunch, typically require that merchants sell their items on the provider’s platforms.

“The problem is that these merchants don’t have the capability to build their own brand,” Berdigans said. “At the end of the day, you end up building the Teespring brand, not your own brand.”

Printify, a graduate of the 500 Startups accelerator, has attracted a $3 million investment from Bling Capital, a venture capital fund launched five months ago by Ben Ling, a former general partner at Khosla Ventures.

“Printify is perfectly positioned to enable the new trend of micro and boutique brands,” Ling said in a statement. “Consumers and SMBs alike can benefit from Printify’s high-quality, low-cost and fast printing platform — and create their own micro-brands.”

Founded in 2015 by Berdigans, Artis Kehris and Gatis Dukurs, Printify had previously raised a $1 million round following a big pivot. Initially, the business “pretended to be the manufacturer,” opting to be less transparent as a means to entice customers.

“That was a terrible idea,” Berdigans said. “Even though you aren’t lying, you end up not being a very honest company and that’s not the business model we wanted.”

Now, Printify operates as a B2B marketplace that connects manufacturers with e-commerce stores. Plus, the startup handles the mundane tasks of fulfilling orders, including billing, manufacturing requests and shipping so store owners can focus on brand building. The switch allowed the startup to begin growing 30% month-over-month, as well as add hundreds of unique products to its catalog.

The founders say Printify most often caters to political campaign employees, designers & artists, and influencers & “hustlers,” or people who are self-taught experts on managing digital sales. With a fixed pricing scheme, merchants know exactly what they are paying Printify, but have the flexibility of pricing their own product. Other print-on-demand marketplaces, like the aforementioned “first wave” businesses, don’t give merchants the ability to determine their own margins.

“If you use Zazzle, for example, you only get a small portion of revenue share but on Printify, you pay us a small fee,” Berdigans said. “If you were selling t-shirts for $25 and the average production cost is $10, our sellers will see a 50 to 60% margin.”

Dozens of angel investors, including YouTube co-founder Steve Chen, Twitch co-founder Kevin Lin, ClassPass co-founder Fritz Lanman, DoorDash co-founder Evan Moore, Google AdSense pioneer Gokul Rajaram and Facebook’s vice president of product Kevin Weil, also participated in the company’s latest round.

“What Airbnb did for the hospitality industry, that’s basically what we can do for the print-on-demand industry,” said Kehris, Printify’s chief operating officer.

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Where top VCs are investing in media, entertainment & gaming

Most of the strategy discussions and news coverage in the media and entertainment industry is concerned with the unfolding corporate mega-mergers and the political implications of social media platforms.

These are important conversations, but they’re largely a story of twentieth-century media (and broader society) finally responding to the dominance Web 2.0 companies have achieved.

To entrepreneurs and VCs, the more pressing focus is on what the next generation of companies to transform entertainment will look like. Like other sectors, the underlying force is advances in artificial intelligence and computing power.

In this context, that results in a merging of gaming and linear storytelling into new interactive media. To highlight the opportunities here, I asked nine top VCs to share where they are putting their money.

Here are the media investment theses of: Cyan Banister (Founders Fund), Alex Taussig (Lightspeed), Matt Hartman (betaworks), Stephanie Zhan (Sequoia), Jordan Fudge (Sinai), Christian Dorffer (Sweet Capital), Charles Hudson (Precursor), MG Siegler (GV), and Eric Hippeau (Lerer Hippeau).

Cyan Banister, Partner at Founders Fund

In 2018 I was obsessed with the idea of how you can bring AI and entertainment together. Having made early investments in Brud, A.I. Foundation, Artie and Fable, it became clear that the missing piece behind most AR experiences was a lack of memory.

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