Billboard Magazine video instalation from Marcos Kotlhar on Vimeo.
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Thursday, June 17, 2010
Tuesday, November 3, 2009
App-vertising
Thanks mobile behaviour for this look at the rise of the app as an ad channel. Personally i think it's just the latest bandwagon for an approach that I support but has been long touted - less advertising and more delivering services that people find useful. Mobile and online apps provide handy ways to do this, but at the end of the day it’s common sense that being useful is better way to get people to favour you than yelling at them is.
As Attention Swings Towards Mobile, The Rise of "App-vertising"
As Attention Swings Towards Mobile, The Rise of "App-vertising"
Every week we see dozens of new applications released, with a few which manage to improve our lives in some shape or form. It's clear that developers are keen on creating the next big thing and user attention is obviously on the app store. Earlier this month USA Today even declared the existence of so-called app addiction, with possible health issues tied to excessive mobile app use. While the iPhone app store is still young, many marketers have noticed the number of eyeballs checking in during this shifting attention economy. Welcome to an age of "app-vertising."
Last week Volkswagen took a unique and cost-efficient approach to advertising its new GTI using just an iPhone app. Their reasoning included a comparison between a prime-time audience for a television show like NCIS (21 million), and reported iPhone and iPod touch customers worldwide (over 50 million). With a lower cost and an additional PR value, Volkswagen took the ladder, receiving both increased engagement and more for their money.
For musicians Alice in Chains, the app store was attractive in a slightly different fashion. To push their new album they are releasing an app, with videos, photos, news, and entire audio track-list included. If brands can advertise using apps, why not musicians? No matter what the product, marketers are being drawn to where the consumer user is, the app-store. This new destination is ripe with opportunity for those who are able to create a niche utility for enhancing our daily routine.
Monday, May 18, 2009
Danger Mouse's Next Album Will Be A Blank CD-R
Thanks @damjanov for sharing this post on how Danger Mouse is sticking it to the man!
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After "legal battles," Danger Mouse's new album has been shelved by his label, EMI. But fearful that his work would never be heard, Danger Mouse came up with an idea to get his music out there while at the same time showing his anger at EMI. The album, entitled Dark Night of the Soul, will be sold as a "100+ page book" of photographs inspired by the music and taken by David Lynch, and will include a blank CD-R to be filled with torrented mp3s. All copies will be clearly labelled:
'For Legal Reasons, enclosed CD-R contains no music. Use it as you will.'
Danger Mouse made his name with a mashup of The Beatles' White Album and Jay-Z's Black Album titled, of course, The Grey Album, which was only available through non-commercial means, so this is a guy who despite his success is very aware of the state of music sales. Dark Night of the Soul is already available to stream for free from NPR, so it looks like Danger Mouse is going all out with his plan to thoroughly infuriate his record label. [via Boing Boing]
Wednesday, March 25, 2009
evolution in music ownership and the cloud theory
How will The Cloud change the way we think about music ownership?
by Nicholas Deleon on March 23, 2009
This article is thanks to Crunch Gear
One of the highlights of last week’s SXSW show, aside from seeing the Austin Crew again (hi, guys!), was when I spent some time talking to a few of the guys from Rhapsody, just like I did last year. The conversation touched a number of topics, but the one I found most interesting was the changing notion of music ownership. That is, now that most of us are at least familiar with streaming, on-demand music from pick-your-service (Imeem, Pandora, Spotify, Rhapsody, etc.), will people in the future still see music as a “thing” that they’ll own, or more like a service that they’ll tap into whenever the need arises? Will people still cling to a finite number of MP3s on their iPod, or will they prefer to have their music on The Cloud, using a device (say, the iPhone) that can call upon any song at will? A sort of, “Shoot, I wish I had that U2 song on my iPod right now” versus, “Here, let me stream that U2 song for you.” And, if people are becoming more comfortable with this type of music consumption, where does that leave traditional, download-to-own services like iTunes and Amazon MP3? The things we think about!
It’s like this: we’re right about at the point where most of us have a smartphone or other device that has a reasonably reliable, always-on Internet connection. As such, we’re right about at the point where a service—the aforementioned ones, or perhaps some new one—can came along and say, “Oh hai! You know, instead of taking your iPod with you everywhere you go, why not just connect your phone to our service? We have every song in recorded history in our database (“Cloud”), and they’re all yours, provided you pay us $15 per month. Think about it: every song ever, in the palm of your hands. That sure beats listening to the same MP3s over and over again, right?!” That’s a best case scenario, of course. While Rhapsody told me the record labels are now much easier to deal with than they were in the past—there’s still a few music executives yelling, “Go away, Internet!”—, we’re still a little bit away from having Everything Ever at our fingertips. On the technical side of things, that also assumes that our Internet connections are, indeed, sound as a pound (aside: I think that phrase needs to be updated!), something that any iPhone-using SXSW attendee will tell you isn’t exactly the case just yet.
But, for the purposes of this here article, let’s assume that all those problems have been solved. Let’s assume that the mobile Internet is fast, reliable and affordable, and that the record labels have opened up their vaults for placement in The Cloud; no technical issues remain. The only thing we have to confront now is the consumer and her listening habits: will they change? Have they already changed? Does Little Stacy, who’s currently in junior high and listens to music via YouTube and Imeem, portend an adult who won’t think of music in terms of CDs and MP3s, but of something that’s “just there,” for lack of a better term? She won’t have a personal music library, in the form of vinyl, CDs, MP3s, FLACs, or whatever; The Cloud will be her library, on which everything ever recorded will reside. The notion of “not having that album” will be totally alien to her; she has everything, always. No, she doesn’t own any of it—it belongs to the record labels, by way of your Rhapsody and Spotify (or whatever)—but it’s always available to her wherever she goes, so why should she care wether or not she “owns” it? Ownership, in this scenario, will become an antiquated concept, no longer applicable to current conditions, and Adult Stacy wouldn’t have it any other way. Nothing’s stopping Stacy from buying a physical copy of an album on some future whiz-bang format, which includes a super-de-dooper high quality copy of the album, but it would be the exception and not the rule. People still go camping (“roughing it”) even though they have fully decorated master bedroom they can sleep in.
But that describes Little Stacy, our hastily invented character who’s currently in junior high; at most she’s 13-year-old. What about Big Steve, who’s 15 years out of college and works in a spiffy office downtown? He still owns his music—in fact, he’s probably just getting used to buying songs off iTunes and the like—and the idea of songs “being there” is sorta weird to him. What if they’re not there? (Big Steve is a glass-half-empty kind of guy; blame the recession.) And even if the songs were there, why should he pay a monthly fee for an entire library of music he’ll never listen to? How is that better than having an iPod filled with only the songs he likes—he loves Danzig—without any garbage pop music getting in the way? A cynic could say, well, long-term, Big Steve is irrelevant, since he doesn’t buy new music anyway, and besides, it’s his kids whom the music industry will be targeting in a few years anyway. Let him “own” all the music he wants, since it’s only a matter of time till he isn’t even on the music industry’s radar. Of course, that completely ignores the fact that, with his fancy corner office, Big Steve has more disposable income to throw at the music industry (and the services we’ve been talking about) than Little Stacy ever will while she’s growing up. To ignore Big Steve, and all the dollar signs he represents, would be foolish. That’s not to say that Big Steve can’t still buy CDs and MP3s, of course, but the question here is whether or not people, in the future, will be comfortable with not owning music. And as people like Little Stacy use the aforementioned services, they’ll no doubt get used to it; it’ll be just another thing they do, like sending thousands of text messages per month or spending hours upon hours on Facebook.
Specific to Rhapsody, yes, you can now buy MP3s from their online store. (Even disruptive technologies and companies like to hedge their bets.) Whether or not that’s the way forward, or merely something done to placate the Big Steves of the world, is what we’re trying to determine. My guess? I hope they have house music in The Cloud.
by Nicholas Deleon on March 23, 2009
This article is thanks to Crunch Gear
cloudmusic
One of the highlights of last week’s SXSW show, aside from seeing the Austin Crew again (hi, guys!), was when I spent some time talking to a few of the guys from Rhapsody, just like I did last year. The conversation touched a number of topics, but the one I found most interesting was the changing notion of music ownership. That is, now that most of us are at least familiar with streaming, on-demand music from pick-your-service (Imeem, Pandora, Spotify, Rhapsody, etc.), will people in the future still see music as a “thing” that they’ll own, or more like a service that they’ll tap into whenever the need arises? Will people still cling to a finite number of MP3s on their iPod, or will they prefer to have their music on The Cloud, using a device (say, the iPhone) that can call upon any song at will? A sort of, “Shoot, I wish I had that U2 song on my iPod right now” versus, “Here, let me stream that U2 song for you.” And, if people are becoming more comfortable with this type of music consumption, where does that leave traditional, download-to-own services like iTunes and Amazon MP3? The things we think about!
It’s like this: we’re right about at the point where most of us have a smartphone or other device that has a reasonably reliable, always-on Internet connection. As such, we’re right about at the point where a service—the aforementioned ones, or perhaps some new one—can came along and say, “Oh hai! You know, instead of taking your iPod with you everywhere you go, why not just connect your phone to our service? We have every song in recorded history in our database (“Cloud”), and they’re all yours, provided you pay us $15 per month. Think about it: every song ever, in the palm of your hands. That sure beats listening to the same MP3s over and over again, right?!” That’s a best case scenario, of course. While Rhapsody told me the record labels are now much easier to deal with than they were in the past—there’s still a few music executives yelling, “Go away, Internet!”—, we’re still a little bit away from having Everything Ever at our fingertips. On the technical side of things, that also assumes that our Internet connections are, indeed, sound as a pound (aside: I think that phrase needs to be updated!), something that any iPhone-using SXSW attendee will tell you isn’t exactly the case just yet.
But, for the purposes of this here article, let’s assume that all those problems have been solved. Let’s assume that the mobile Internet is fast, reliable and affordable, and that the record labels have opened up their vaults for placement in The Cloud; no technical issues remain. The only thing we have to confront now is the consumer and her listening habits: will they change? Have they already changed? Does Little Stacy, who’s currently in junior high and listens to music via YouTube and Imeem, portend an adult who won’t think of music in terms of CDs and MP3s, but of something that’s “just there,” for lack of a better term? She won’t have a personal music library, in the form of vinyl, CDs, MP3s, FLACs, or whatever; The Cloud will be her library, on which everything ever recorded will reside. The notion of “not having that album” will be totally alien to her; she has everything, always. No, she doesn’t own any of it—it belongs to the record labels, by way of your Rhapsody and Spotify (or whatever)—but it’s always available to her wherever she goes, so why should she care wether or not she “owns” it? Ownership, in this scenario, will become an antiquated concept, no longer applicable to current conditions, and Adult Stacy wouldn’t have it any other way. Nothing’s stopping Stacy from buying a physical copy of an album on some future whiz-bang format, which includes a super-de-dooper high quality copy of the album, but it would be the exception and not the rule. People still go camping (“roughing it”) even though they have fully decorated master bedroom they can sleep in.
But that describes Little Stacy, our hastily invented character who’s currently in junior high; at most she’s 13-year-old. What about Big Steve, who’s 15 years out of college and works in a spiffy office downtown? He still owns his music—in fact, he’s probably just getting used to buying songs off iTunes and the like—and the idea of songs “being there” is sorta weird to him. What if they’re not there? (Big Steve is a glass-half-empty kind of guy; blame the recession.) And even if the songs were there, why should he pay a monthly fee for an entire library of music he’ll never listen to? How is that better than having an iPod filled with only the songs he likes—he loves Danzig—without any garbage pop music getting in the way? A cynic could say, well, long-term, Big Steve is irrelevant, since he doesn’t buy new music anyway, and besides, it’s his kids whom the music industry will be targeting in a few years anyway. Let him “own” all the music he wants, since it’s only a matter of time till he isn’t even on the music industry’s radar. Of course, that completely ignores the fact that, with his fancy corner office, Big Steve has more disposable income to throw at the music industry (and the services we’ve been talking about) than Little Stacy ever will while she’s growing up. To ignore Big Steve, and all the dollar signs he represents, would be foolish. That’s not to say that Big Steve can’t still buy CDs and MP3s, of course, but the question here is whether or not people, in the future, will be comfortable with not owning music. And as people like Little Stacy use the aforementioned services, they’ll no doubt get used to it; it’ll be just another thing they do, like sending thousands of text messages per month or spending hours upon hours on Facebook.
Specific to Rhapsody, yes, you can now buy MP3s from their online store. (Even disruptive technologies and companies like to hedge their bets.) Whether or not that’s the way forward, or merely something done to placate the Big Steves of the world, is what we’re trying to determine. My guess? I hope they have house music in The Cloud.
Friday, February 27, 2009
Mattel to Expand Online Focus in 2009 with Development of Mattel Digital Network
Thanks Businesswire: Unprecedented Demand for New Digital Play Experiences Drives Aggressive, New Initiative For World’s #1 Toy Manufacturer
2009 International CES
LAS VEGAS--(BUSINESS WIRE)--Mattel announced today at the 2009 Consumer Electronics Show (CES) Kids@Play Summit that it will be transforming the company’s online strategy from brand Web site platform to interactive programming and content provider. The aggressive initiative is called the Mattel Digital Network, a new online destination for kids and families that is being driven by the company’s experience and observations about how kids play today. The Network is a gateway to a world of open-ended online play – it will be user-focused and will become the portal to Mattel’s powerhouse brands, such as Barbie®, Hot Wheels®, Matchbox® and Radica®.
“Today’s kids don’t recognize technology, they recognize magic that engaging play experiences deliver,” said Chuck Scothon, General Manager and Senior Vice President Mattel Digital Network. “Mattel is known for providing magical play experiences through traditional toys, and now with the launch of the Mattel Digital Network, we extend our great play experiences into the digital space for kids of all ages.”
The network is being created with a simple, defining touchstone - that it will be “the place where the kid in all of us comes to play.” Even its name, the Mattel Digital Network, was thoroughly dissected. More specifically, it is truly an all-brand initiative (Mattel), ensures a continued focus specifically on the space (Digital), and requires an ongoing commitment to keeping both the content and each target audience - from kids to tweens and teens to adults and collectors – in mind when building their online experience (Network).
“To put it simply, we will be moving our users into the driver’s seat to let them decide how to interact with our brands, to consume the content they want and even to be a participant in content creation,” Scothon continued. “Through it all, we also recognize that the digital space requires us to iterate and optimize forever – we will never be done nor satisfied. So, when the Mattel Digital Network launches, we will almost immediately start changing the experience and then learn every day how to keep improving it.”
Phase one for the Mattel Digital Network will:
- Discern the age of a child and provide a different experience depending on gender, interests, and level of active participation.
- Be a kid-safe environment with content that is screened, approved and appropriate for children at each age.
- Provide tools to harness the creativity of brand fans to make it not just a place to consume content, but also to provide content.
- Deliver on being a site “for the kid in all of us” – from ensuring our channels will support the personality of each to providing a shopping solution for gift givers.
Deep History Online
An intellectual property powerhouse, Mattel has consistently ranked at the top of digital destinations for several years, behind only traditional broadcast and media players. The company’s online success has been based in an understanding that, for kids, the heart of their online experience is rooted in play, which is what Mattel delivers like no other. From better understanding kids and moms, and their desire for a strong and positive play experience, the company has built a world class online experience that provides a solid and strong foundation upon which to build. This understanding has been at the foundation of every brand website since Mattel’s earliest entry into the digital space with the launch of HotWheels.com™ in 1996, up through today’s fastest growing virtual world ever, BarbieGirls.com™, and beyond. It was also the foundation for a proprietary interactive research tool called the Mattel Playground, which has opened a daily dialogue with hundreds of real moms.
Mattel Products at CES:
Mattel is continually looking for new ways to merge traditional and online play, and is unveiling a variety of innovative products at its booth (Kids@Play Summit – Sands Expo and Convention Center #72600) including:
- Mindflex™ - Have you ever dreamed of moving an object with the power of your mind? Mindflex™, the new mental acuity game from Mattel, makes that dream a reality! A lightweight headset containing sensors for the forehead and earlobes measures your brainwave activity. When you focus your concentration, a small foam ball will rise on a gentle stream of air. Relax your thoughts and the ball will descend. By using a combination of physical and mental coordination, you must then guide the ball through a customizable obstacle course – the various obstacles can be repositioned into many different configurations. Mindflex™ combines advanced technology with the power of thought to create an interactive experience unlike any other – a game where players compete in the ultimate mental marathon!
- Barbie® Digital Nail Printer – As the first product unveiled under the Barbie® brand’s new “Beautronics” line – where beauty meets electronics – the Barbie® Digital Nail Printer connects to your computer and allows you to print custom designs directly onto your nails; it takes only a few seconds and the designs last for days! You can select from 1000s of intricate designs, and even upload your own photos to create a custom manicure perfect for any occasion. The Digital Nail Printer uses thermal inkjet technology and specially-formulated cosmetic grade ink to print directly on the nail surface in full color. A built-in color video camera lets you model nail designs before printing.
- UCreate Games - Ucreate Games puts mash-up creativity and game creation into the hands of kids. Using your computer screen and the Ucreate Games tablet, kids can build and customize unique games using hand drawn lines and a library of fun, interactive game elements, including: drawing templates, photos, sound effects, and recognizable game components. Ucreate Games uses a unique, photographic interface that automatically recognizes game activities and captures the user’s creations. This customizable gaming experience provides an endless variety of challenging game play that the user controls. Ucreate Games includes: drawing table, folding camera, USB connection, software, dry erase drawing supplies, and game template booklet.
- UCreate Music - Ucreate Music is an easy-to-use digital music making system that allows kids to become the ultimate DJ. Kids and tweens can express themselves through creating their own songs and re-mixes with a fun and innovative interface. They can record samples, mix and match loops and create their own music tracks using an assortment of rifts, instruments, runs and backbeats. Plus, kids can share their creations with friends and update and explore new content on the Ucreate Music website. For added entertainment, kids can add in their own voice and sound effects or distortions to their track.
- Xtractaurs™ - Extract, Combine and Fight Online!™ Xtractaurs™ provides kids with the tools to build the ultimate dinosaur online. The Xtractaurs™ experience begins with the Starter Kit, which comes complete with a T. rex action figure, software and Extraction Gun. Connect the Extraction Gun to your Mac or PC and then insert into the dinosaur figure to “extract DNA.” Once extracted, the DNA will unlock an action-packed online gaming experience. As boys collect new dinosaur figures, they will continue to extract dinosaur DNA, unlocking new games and special attacks. Boys can then mix and match online various dinosaur DNA traits, characteristics and fighting abilities to create the ultimate Xtractaurs™ figure. A player can boost the power of his figure in five arcade-style games, collect new DNA in dino action games, and ultimately take on the mighty Megavores™ in battle! But every Megavore™ requires new strategies. Build the wrong Xtractaurs™, and it’s back to the drawing board!
- U.B. Funkeys™ Game Factory Tool - U.B. Funkeys™ is a popular PC-based interactive game where vinyl toy collecting meets casual gaming. The U.B. Funkeys™ virtual world continues to expand as players collect figures and interact through in-game activities and challenges. The Game Factory tool enhances the user experience by allowing kids to unlock new gaming functionality within the U.B. Funkeys™ world. With each 2 Game Factory figures, kids can create their own U.B. Funkeys™ online game and post it to UBFunkeys.com where friends can play and rank their game. *Name subject to change.
- FAMPS™ (Feelings, Attitudes, Moods and Personalities) - Connecting, expressing and sharing are the basic elements of social networking and are core to the way girls stay connected! FAMPS™ takes this form of communication and brings it together with collectible figures that connect and communicate with your Mac or PC via USB and RFID. FAMPS™ figures - Feelings, Attitudes, Moods and Personalities - allow girls to reflect their various emotions through their virtual space. Each figure creates a unique emotional makeover so girls can express themselves in all kinds of fun new ways via their desktop, e-mail, widgets and IM. Girls can also create custom wallpapers, e-cards and more based on their feeling, attitude, mood or personality at that time. Additionally, girls can expand their FAMPS™ world by collecting the individual FAMPS™ characters that can be carried with them as key chains, displayed on their desks or traded with girlfriends.
About Mattel
Mattel, Inc., (NYSE: MAT)(www.mattel.com) is the worldwide leader in the design, manufacture and marketing of toys and family products. The Mattel family is comprised of such best-selling brands as Barbie®, the most popular fashion doll ever introduced, Hot Wheels®, Matchbox®, American Girl®, Radica:® and Tyco® R/C, as well as Fisher-Price® brands, including Little People®, Power Wheels® and a wide array of entertainment-inspired toy lines. Mattel is recognized as one of 2008's "100 Best Companies to Work For" by FORTUNE Magazine. With worldwide headquarters in El Segundo, Calif., Mattel employs more than 30,000 people in 43 countries and territories and sells products in more than 150 nations. Mattel's vision is to be the world's premier toy brands—today and tomorrow.
Tuesday, February 24, 2009
How To Make Twitter Sound Like Music To Your Ears
Thanks TechCrunch for this list of twitter music apps. Cool stuff
by Robin Wauters on February 22, 2009
Here’s a number of ways to use Twitter for just about anything related to music:
* Blip.fm
* Twiturm
* Twisten.fm
* Twt.fm
* Tweetj
* A similar service is WiiZZZ
* Play Twitter
* Tra.kz
* TwittyTunes
* LastTweet
* Update: LastFMLoveTweet
* Update: Tweekly.fm
* Update: this site
Also worth checking out, even if not directly related to Twitter: Nabbit
Did I miss any other apps, tools and websites worth noting?
Share them in the comments and I’ll be happy to update the post.
Update: it’s not Twitter-specific, but you can use Favtape
Wednesday, January 7, 2009
10 Tips for 360° Marketing - Metallica vs Yael Naim: Steamroller vs Word of Mouth
Thanks futurelab for this rundown of how to work on all fronts
Guest Post by: Frédéric Baffou
Guest Post by: Frédéric Baffou
Procter & Gamble, Coca Cola or Nike are experts in steamroller approach when it comes to a worldwide product launch.
What about a Rock Band?
Metallica, one of the most popular metal band in the world, released one month ago their new album : Death Magnetic.
After one month of sales, they have reached 1 million copies sold (source: Nielsen SoundScan) with almost half of them done within the first 3 days after the launch. They secured the all-time record for most consecutive #1 debuts in chart history!
I wanted to understand how they have supported the launch of this new album. In the meantime, I looked at the song New Soul (from Yael Naim) which became popular around the planet earlier this year thanks to the commercial for the Apple Macbook Air. This approach based on Word of Mouth (WoM) led the album of this young girl entering the top 10 of the Billboard Hot 100. Only 18 songs have done so since 2000.
At the end of the day, some marketing Tips can be identified based on these experiences.
A very good execution of a 360° Marketing strategy
One of the principle of being Customer Centric is to approach with consistency the consumer from many different angles. Metallica is definitely a master (of puppets) on this battle ground.
They have used the full scope of marketing tools before, during and after the release of their new CD. The support stems from pre-launch website to CRM through community based tools.
What did Metallica control?
The different building blocks are organized with consistency and interacting across each other which contributed to expand the snow ball effect.
You can click on each of the image to get the details of various examples.
Branding mmm Pre-Launch Website Main Website
Advertising
Video games mmm Goodies m Music
Interviews mmmmmmm mTV Shows mmmmm Concerts
Social networks
What did Metallica NOT control?
Quality of sound
In the meantime, they have been exposed to a polemic about the sound quality of their new album. Many fans claimed that the sound was too loud which created a major buzz. Even, The Wall Street Journal published a detailed article on the subject 2 weeks after the official release of the album. It led Lars Ulrich (drummer) to make a public statement few days later. However, the Buzz is still on air! A petition which has collected more than 15 000 signatures is growing everyday.
Length of songs
The band had contributed to the end of the free Peer To Peer (P2P) platform, Napster. However, some original new songs were circulating on the web but had been remastered by a fan to be shorter than original tracks (7′ in average).
The Swedish newspaper Sydsvenskan commented positively this initiative. Universal Music issued a press release and cancelled the interview planned with the journalist. This local event was largely commented internationally on the web beyond the fans’ community.
What is the result?
Metallica achieved a record sales supported by a major investment. The main challenge is now to maintain such level of performance while keeping a genuine interactivity with fans.
Yael Naim has reached a worldwide awareness thanks to her talent (and David Donatien), an album done in their apartment and a 30 secs advertisement…Not bad in terms on ROI.
She was opportunistic, flexible and build momentum when Apple’s commercial pushed her over the Tipping Point. WoM was the main vehicle benefiting from a very good fit between Apple’s brand image and the music.
Metallica and Yael Naim have aligned their resources with their goals. However, they have in common one fundamental which is the quality of their “product” as both people and critics have appreciated a lot their music.
10 Tips to practice efficiently 360° Marketing
1- Define first a clear set of goals and the related strategy
2- Understand well your audiences/consumers and the way they use & interact with your brand(s)/products (incl. opinion leaders)
3- Identify clearly the different marketing channels (and their mix) that consumers are using (and not using) to get informed, to communicate, to entertain, to try and to purchase
4- Define the most appropriate channel(s) related to the status of your consumers (e.g. acquisition vs loyalty) and allocate a precise role to each of them
5- Keep always the ears, the eyes opened to what is going on the maket
6- Deliver a message if it brings value to your clients or audiences
7- Be consistent within and across all channels (one size doesn’t fit all) and produce regularly new content
8- Seek feedback and involvement from consumers and integrate it in the next steps
9- Measure, benchmark and allocate resources accordingly, i.e Quality over Quantity
10- Keep in mind that the best advocate about your products is NOT the brand but the consumer
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