Thanks to ad:tech for publishing this first.
One of my wonkier interests is book marketing – a field with its own rules, realities, and best practices. I’ve heard that ultimately the industry is built on only a couple million consumers. OK, cookbooks can get beyond that core set, also romance which has something like 30 million core readers, ditto catchily titled books “written” by semiliterate pro wrestlers and UFC stars. But for most of the segments, there’s this fairly tiny set of power readers that hold the walls of the biz up. Similar to how hard core gamers can make or break a title in that business. (I am guessing hard core readers and gamers are decidedly dissimilar in demos and psychographics.)
So I have been interested to see how the world reacts to Vook, a platform that combines book-style narrative text with photos, video, and social media integration. Here’s the movie:
View More Free Videos Online at Veoh.com
Of course, every industry is anxious to see how digital can enrich its business – publishing is no exception. Since its launch Vook has garnered a strong list of authors and titles including Seth Godin, Deepak Chopra, Anne Rice, Gary Vaynerchuk, Slash of Guns N' Roses and Karen Armstrong. Additionally, a number of the largest and more significant publishing houses in the US. including Simon and Schuster, Penguin Group, Harvard Business Press, Harper Collins and Hachette Filipacchi, are releasing broad appeal titles to Vook. There isn't a huge number of titles yet, but it’s growing steadily, and the pace is accelerating as more people try out the platform.
Vooks are available on the vook.com site, in the Amazon store for Kindle and in the app store for iPhone and iPad. Since all hype looks most over the top in the Romance genre, I give you the trailer for Promises, by Jude Deveraux. It’ll give you a sense of how the Vook format enlivens content and can enrich a story.
View More Free Videos Online at Veoh.com
Obviously, only a small number of people who read these posts are in the book trade. But Vook is significant on a pan-digital industry level for a couple of reasons.
First, it demonstrates how digital can transform mature categories and add interactivity and exchange to seemingly staid, traditional businesses.
Second, the Vook format seems an interesting potential platform for marketing messages at some point in the future. Would consumers interact with multimedia brand experiences if they enriched book content? Absolutely, I think. Imagine a “cozy” mystery series, with video and enactments in a Starbucks, or a way to send virtual cups of coffee to friends.
Third is about audience extension, and how digital may be able to broaden the appeal of a category. Anyone who has been to my house knows that I am part of that small population segment that drives publishing. I have perhaps 4,000 books in my house, on shelves that climb 14 feet into the air and pretty much cover every wall surface in my tiny unit.
I can certainly see myself enjoying a Vook, particularly in certain emotional genres. For example, the ability to see The Last Supper while reading Da Vinci Code, or having a vid move in and out and make clearer the hidden symbols, yadda yadda. And WHAT A WAY to promote movies based upon books!
But the question really is, will the Vook open up new population segments to more frequent reading? Or even any reading at all?
I bet that Vooks can increase the number of titles read by light and medium category buyers, but that the non reader will remain so, despite the advent of the Vook. Perhaps more importantly, Vook and Vook trailers will offer the opportunity to better communicate a story than can cover or spine art, and that’s good news as well.
The social angle is fascinating. Reading is of course nearly always a solitary act, but the incredible growth in the number of book clubs demonstrates that readers want to be able to share their experiences. Vook integrates social right into the platform, which offers the added benefit of driving awareness and personal endorsements for titles. Marketers may also find the cohesive demos of certain book genres irresistible as well.
Whatever you think of the concept, Vook is definitely worth watching. Will it succeed? Will it be a niche? Only time will tell. In the meantime, it’s time for me to get back to watching The Raven.
Saturday, March 5, 2011
COD: Noblivity and the new product distribution paradigm
Thanks to ad:tech for publishing this first.
Lots of businesses struggle with product distribution issues. The process and cost of traditional distribution building efforts make it particularly difficult for emerging brands to get out there in a serious way. Lots of large retailer classes charge huge slotting fees, and may also have draconian application processes. Additionally, small retailers can also be difficult to reach because the system to close them was traditionally geared to in-person meetings.
But digital holds the power to change that. And a website called Noblivity is out to make that power felt in the fashion industry. The site bills itself as a virtual trade show that connects small brands and upcoming designers with boutiques that are seeking unique items.
The service holds enormous potential value for both sides of the exchange. It helps the small brands while enabling smaller retailers to compete better with larger stores. Small retailers depend upon stocking unusual and unique inventory in order to compete. They cannot battle on price for like items, so instead they focus on goods that you cannot get at Gapbebeandfexpressfcukandapatridgeinapeartree.
The service enables stores to buy directly through the site and get a single invoice for merchandise they purchase, how ever many merchants they choose to patronize. Sellers get worldwide retail reach, and the performance pricing model eliminates fixed costs. Presumably they take a cut of sales, though based upon the press they get from buyers and sellers, it must be an eminently reasonable one.
Again, I think this model should be interesting to you regardless of whether you are (indulge me for a moment, I’ve always wanted to use this phrase in business writing!) "in the rag trade." Because it shows yet another way that digital has the power to upend the status quo and democratize an aspect of business that needs it.
The site also offers a good blog with lots of tips and advice for businesses on either side of the equation.
Good stuff.
Lots of businesses struggle with product distribution issues. The process and cost of traditional distribution building efforts make it particularly difficult for emerging brands to get out there in a serious way. Lots of large retailer classes charge huge slotting fees, and may also have draconian application processes. Additionally, small retailers can also be difficult to reach because the system to close them was traditionally geared to in-person meetings.
But digital holds the power to change that. And a website called Noblivity is out to make that power felt in the fashion industry. The site bills itself as a virtual trade show that connects small brands and upcoming designers with boutiques that are seeking unique items.
The service holds enormous potential value for both sides of the exchange. It helps the small brands while enabling smaller retailers to compete better with larger stores. Small retailers depend upon stocking unusual and unique inventory in order to compete. They cannot battle on price for like items, so instead they focus on goods that you cannot get at Gapbebeandfexpressfcukandapatridgeinapeartree.
The service enables stores to buy directly through the site and get a single invoice for merchandise they purchase, how ever many merchants they choose to patronize. Sellers get worldwide retail reach, and the performance pricing model eliminates fixed costs. Presumably they take a cut of sales, though based upon the press they get from buyers and sellers, it must be an eminently reasonable one.
Again, I think this model should be interesting to you regardless of whether you are (indulge me for a moment, I’ve always wanted to use this phrase in business writing!) "in the rag trade." Because it shows yet another way that digital has the power to upend the status quo and democratize an aspect of business that needs it.
The site also offers a good blog with lots of tips and advice for businesses on either side of the equation.
Good stuff.
Friday, March 4, 2011
COD: OneScreen is working to bring the video ecosystem togetha
Thanks to ad:tech for publishing this first.
Sometimes it seems like video is everywhere. But it isn’t. And the widely touted democratization of video content means lots more creative people can make a killing on ad supported content. It’s not so simple. And sometimes people tout the dramatic increase in the amount of premium video content as an indication that brands can get however much they want, whenever they want it. But that’s not true either.
How ever much we want to make the digital CW an either or proposition, the world of video is definitely not so compartmentalized and “tidy.”
Whatever the reason, there are plenty of brands, sites, and content owners that go wanting, at least as far as video goes. And to help fill the gap, there is OneScreen. OneScreen connects content owners with advertisers and distributors, helping everyone get more opportunity – and revenue -- from video.
On some level it may sound simple, but video is a VERY different bird. Somebody owns the content, which is very often NOT the person or entity that puts it in front of consumers. Further, the financial relationships between all these companies are governed by a labyrinth of rev share agreements and licensing fees. But wait! There’s more: a player landscape to navigate, and of course advertisers to sign who are anxious to ensure that the content they associate with is brand appropriate. Who has the right to sell to those advertisers? If the site sells an ad, and the content owner sells an ad, are the rev shares the same? And if an ad network sells the ad, how does the split work then?
But OneScreen is not a monetization platform like a Freewheel, rather they are facilitating relationships. OneScreen is a neutral party, sitting on top of the current video ecosystem, including pubs, brands, content owners, and service providers like Freewheel. Because of this position, their ability to transparently connect (and provide reporting for) all the major players impacted by video in a transparent manner is allowing more video content to be created and leveraged in more places. Integrations are at the heart of their platform.
Professional producers of content about specific categories, verticals, and topics, can use OneScreen as their content management and syndication system- to make their content available to a set of sites they approve, and make it available to advertisers interested in those niches.
Advertisers get an easy way to pair their marketing with specialized content, or distribute their own branded entertainment. They work with ad networks for video distribution as well.
Publishers get access to professionally-produced video and a selling mechanism that helps them monetize it more effectively. They also receive all the tools to integrate video across their properties, whether they are widgets, pages, or entire sites.
OneScreen’s vision is far broader than just online video. They are seeking to create an environment in which any organization – from a pub to a gas station – can get video – and revenue -- whenever they want it, and on any device. According to OneScreen, their solution can help an extremely broad range of companies.
One thing for certain, video is going to end up in a lot more places in the next several years. And OneScreen hopes to be a leading player in getting the right video in the right places so publishers, advertisers, content producers, and ultimately audiences, can all win.
Sometimes it seems like video is everywhere. But it isn’t. And the widely touted democratization of video content means lots more creative people can make a killing on ad supported content. It’s not so simple. And sometimes people tout the dramatic increase in the amount of premium video content as an indication that brands can get however much they want, whenever they want it. But that’s not true either.
How ever much we want to make the digital CW an either or proposition, the world of video is definitely not so compartmentalized and “tidy.”
Whatever the reason, there are plenty of brands, sites, and content owners that go wanting, at least as far as video goes. And to help fill the gap, there is OneScreen. OneScreen connects content owners with advertisers and distributors, helping everyone get more opportunity – and revenue -- from video.
On some level it may sound simple, but video is a VERY different bird. Somebody owns the content, which is very often NOT the person or entity that puts it in front of consumers. Further, the financial relationships between all these companies are governed by a labyrinth of rev share agreements and licensing fees. But wait! There’s more: a player landscape to navigate, and of course advertisers to sign who are anxious to ensure that the content they associate with is brand appropriate. Who has the right to sell to those advertisers? If the site sells an ad, and the content owner sells an ad, are the rev shares the same? And if an ad network sells the ad, how does the split work then?
But OneScreen is not a monetization platform like a Freewheel, rather they are facilitating relationships. OneScreen is a neutral party, sitting on top of the current video ecosystem, including pubs, brands, content owners, and service providers like Freewheel. Because of this position, their ability to transparently connect (and provide reporting for) all the major players impacted by video in a transparent manner is allowing more video content to be created and leveraged in more places. Integrations are at the heart of their platform.
Professional producers of content about specific categories, verticals, and topics, can use OneScreen as their content management and syndication system- to make their content available to a set of sites they approve, and make it available to advertisers interested in those niches.
Advertisers get an easy way to pair their marketing with specialized content, or distribute their own branded entertainment. They work with ad networks for video distribution as well.
Publishers get access to professionally-produced video and a selling mechanism that helps them monetize it more effectively. They also receive all the tools to integrate video across their properties, whether they are widgets, pages, or entire sites.
OneScreen’s vision is far broader than just online video. They are seeking to create an environment in which any organization – from a pub to a gas station – can get video – and revenue -- whenever they want it, and on any device. According to OneScreen, their solution can help an extremely broad range of companies.
One thing for certain, video is going to end up in a lot more places in the next several years. And OneScreen hopes to be a leading player in getting the right video in the right places so publishers, advertisers, content producers, and ultimately audiences, can all win.
COD: Butaca.TV – the free online theater seat for movies and video en Espanol
Thanks to ad:tech for publishing this first.
Online is a great way to reach and engage Latinos in the US. But not enough brands recognize the opportunity. According to a 2010 study by Pew Internet, English speaking Latinos have similar web usage patterns to Anglos, while foreign born and Spanish dominant Latinos tend to use the web less. But Latinos LEAD Anglos on digital consumption through devices other than a PC. For example, (list lifted from Pew) Hispanics are far more likely than Anglos to do the following through their cellphones:
Text message
Use social networking site
Use the internet
Record and watch videos
Make a charitable donation via text message Use email
Play games
Listen to music
Use instant messaging
Post multimedia content online
In digital video, Latinos that always or sometimes prefer content in Spanish tend to be poorly served. That’s in part because Spanish TV networks haven’t been as active as their Anglo counterparts in making premium long form content available on demand.
A bootstrapped LA-based start-up called Veranda Entertainment has created a digital platform called Butaca to step into this void and offer movies, shows, documentaries, and lifestyle content in Spanish with a free-to-the-viewer advertising supported model. Butaca (the name means theater seat in Spanish) content falls into one of ten genres including Action, Drama, Comedy, Romantic Comedy, Horror/Terror, Children’s, Fantasy, Documentary, and Lifestyle. Videos range from full length movies to shorts.
Anyone who has watched Univision or Telemundo for even a few minutes probably recognizes that Spanish language content comes from a broad range of countries. Butaca’s collection currently offers videos from the US, Caribbean, Mexico, Central and South America, and Spain and Portugal
While the offering is currently focused on the PC-based Internet, their vision is to offer a multiscreen platform across computers, smartphones, and connected television, to create the same sort of platform- neutral content options that exist in greater and greater numbers for Anglos. To achieve this, they are currently developing apps for mobile devices and wired TVs. They are working with Sony, Google TV, Samsung, and others to create that frictionless video platform.
One of the persistent misconceptions about the Latino market is that ALL Hispanics want ALL content in Spanish ALL the time. In reality, the American Latino “world” isn’t binary – Spanish only speakers versus English only speakers) but rather people’s preferences and language abilities vary by individual. Butaca content is in Spanish, Portuguese, and English and the site offers the choice of Spanish or English navigation.
They also have partnerships with YouTube and Impremedia’s Hispanic news properties for those who prefer to use those platforms. If you're not familiar with Impremedia, they own some of the largest Spanish language newspapers and associated websites in America, including El Diario La Prensa.
In sum they are delivering about 4 million vid views a month. There are English and Spanish language ads running on the site. Butaca offers a range of ad options, from pre-roll/mid-roll/post-roll to overlays, page wraps and more. The quantity of ads in a given video or flick is quite reasonable, giving advertisers the opportunity to stand out.
The site currently offers several hundred full length films, plus a bunch of other types of content. Most fall into the Classic category. Clearly their vision is to grow that library and lead in the digital video space.
I am happy to get to do my little bit to promote a bootstrapped concern solving a real content problem for America’s fastest growing population!
Online is a great way to reach and engage Latinos in the US. But not enough brands recognize the opportunity. According to a 2010 study by Pew Internet, English speaking Latinos have similar web usage patterns to Anglos, while foreign born and Spanish dominant Latinos tend to use the web less. But Latinos LEAD Anglos on digital consumption through devices other than a PC. For example, (list lifted from Pew) Hispanics are far more likely than Anglos to do the following through their cellphones:
Text message
Use social networking site
Use the internet
Record and watch videos
Make a charitable donation via text message Use email
Play games
Listen to music
Use instant messaging
Post multimedia content online
In digital video, Latinos that always or sometimes prefer content in Spanish tend to be poorly served. That’s in part because Spanish TV networks haven’t been as active as their Anglo counterparts in making premium long form content available on demand.
A bootstrapped LA-based start-up called Veranda Entertainment has created a digital platform called Butaca to step into this void and offer movies, shows, documentaries, and lifestyle content in Spanish with a free-to-the-viewer advertising supported model. Butaca (the name means theater seat in Spanish) content falls into one of ten genres including Action, Drama, Comedy, Romantic Comedy, Horror/Terror, Children’s, Fantasy, Documentary, and Lifestyle. Videos range from full length movies to shorts.
Anyone who has watched Univision or Telemundo for even a few minutes probably recognizes that Spanish language content comes from a broad range of countries. Butaca’s collection currently offers videos from the US, Caribbean, Mexico, Central and South America, and Spain and Portugal
While the offering is currently focused on the PC-based Internet, their vision is to offer a multiscreen platform across computers, smartphones, and connected television, to create the same sort of platform- neutral content options that exist in greater and greater numbers for Anglos. To achieve this, they are currently developing apps for mobile devices and wired TVs. They are working with Sony, Google TV, Samsung, and others to create that frictionless video platform.
One of the persistent misconceptions about the Latino market is that ALL Hispanics want ALL content in Spanish ALL the time. In reality, the American Latino “world” isn’t binary – Spanish only speakers versus English only speakers) but rather people’s preferences and language abilities vary by individual. Butaca content is in Spanish, Portuguese, and English and the site offers the choice of Spanish or English navigation.
They also have partnerships with YouTube and Impremedia’s Hispanic news properties for those who prefer to use those platforms. If you're not familiar with Impremedia, they own some of the largest Spanish language newspapers and associated websites in America, including El Diario La Prensa.
In sum they are delivering about 4 million vid views a month. There are English and Spanish language ads running on the site. Butaca offers a range of ad options, from pre-roll/mid-roll/post-roll to overlays, page wraps and more. The quantity of ads in a given video or flick is quite reasonable, giving advertisers the opportunity to stand out.
The site currently offers several hundred full length films, plus a bunch of other types of content. Most fall into the Classic category. Clearly their vision is to grow that library and lead in the digital video space.
I am happy to get to do my little bit to promote a bootstrapped concern solving a real content problem for America’s fastest growing population!
COD: TopVoice lets brands reward their most enthusiastic evangelists
Thanks to ad:tech for publishing this first.
A dear friend of mine gets very passionate when she discusses how brands are struggling with how to leverage social media in support of brand goals. Her pet peeve is that we stick banners in social environments as if the best we can do is barrage users when they hold the power to talk us up or down to their circles of influence.
I agree with her that most brands are misusing or at least underusing social in support of brand goals. I say that chiefly because of the 20/80 or 10/90 rule – that all brands have heavy user/believers who recommend products, talk up benefits, and even come to our aid when naysayers unfairly criticize us online.
How do we encourage and reward these consumer behaviors? Well, a company called TopVoice thinks it has the answer. TopVoice lets brands recognize and reward the people who motivate consumer actions from their friends and connections. Users join the service on their site or via their FaceBook application. From there, the platform monitors their activity in support of participating brands, giving them status points when their actions – posts, recommendations, and the like – result in positive brand actions from their friends.
You earn points across Facebook by using the like button on brand pages and ads, and by making comments related to brands. Addiitonally, they have this speech bubble icon thing that adds many more potential actions to your loyalty reportoire. When your friends respond by clicking, visiting, or otherwise tangibly expressing that you motivated them, the points pile up.
Actually, there are three kinds of rankings:
• An overall ranking that outlines the total activity you drive across all brands
• A brand ranking related to your recommendations for a specific brand
• A category guru ranking that reflects your expertise on a product type
You get recognition from your points, but you also get rewards and discounts from brands that participate in TopVoice. Thus, a brand can responsibly reward its lovers without resorting to pay per post or other more mercenary methods. A leader board for each type of ranking also adds to the user recognition side of the equation.
There are clearly background and foreground components to this. First, the platform is capturing all your activity -- what you are doing naturally as you surf FaceBook. Second, it enables a brand to treat its fans as VIPs, without a direct pay for play relationship that has been widely panned online.Of course VIPs are expected to make more actions online.
I like the blend of psychological and tangible benefits. It’ll be illuminating to see what effects this model has on the recommending public.
A dear friend of mine gets very passionate when she discusses how brands are struggling with how to leverage social media in support of brand goals. Her pet peeve is that we stick banners in social environments as if the best we can do is barrage users when they hold the power to talk us up or down to their circles of influence.
I agree with her that most brands are misusing or at least underusing social in support of brand goals. I say that chiefly because of the 20/80 or 10/90 rule – that all brands have heavy user/believers who recommend products, talk up benefits, and even come to our aid when naysayers unfairly criticize us online.
How do we encourage and reward these consumer behaviors? Well, a company called TopVoice thinks it has the answer. TopVoice lets brands recognize and reward the people who motivate consumer actions from their friends and connections. Users join the service on their site or via their FaceBook application. From there, the platform monitors their activity in support of participating brands, giving them status points when their actions – posts, recommendations, and the like – result in positive brand actions from their friends.
You earn points across Facebook by using the like button on brand pages and ads, and by making comments related to brands. Addiitonally, they have this speech bubble icon thing that adds many more potential actions to your loyalty reportoire. When your friends respond by clicking, visiting, or otherwise tangibly expressing that you motivated them, the points pile up.
Actually, there are three kinds of rankings:
• An overall ranking that outlines the total activity you drive across all brands
• A brand ranking related to your recommendations for a specific brand
• A category guru ranking that reflects your expertise on a product type
You get recognition from your points, but you also get rewards and discounts from brands that participate in TopVoice. Thus, a brand can responsibly reward its lovers without resorting to pay per post or other more mercenary methods. A leader board for each type of ranking also adds to the user recognition side of the equation.
There are clearly background and foreground components to this. First, the platform is capturing all your activity -- what you are doing naturally as you surf FaceBook. Second, it enables a brand to treat its fans as VIPs, without a direct pay for play relationship that has been widely panned online.Of course VIPs are expected to make more actions online.
I like the blend of psychological and tangible benefits. It’ll be illuminating to see what effects this model has on the recommending public.
COD: With Hyperspots, Rachel’s sweater is finally clickable!
Thanks to ad:tech for publishing this first.
If you were in the business in the early- to mid-aught decade, you probably saw a demo of vaporware technology that would let the consumer click on a thing in a video (it was always an orangey pink sweater worn by Rachel from Friends) and see how and where you could buy it. There it was, in the online store of Express or Macy’s or wherever.
The technology was always touted as being just a few months away (like rocket jetpacks in the 1950s) but it never seemed to actually materialize. At least no one I know remembers actually seeing it.
But now I have. Hyperspots lets you buy an actress’s sweater, or her hair care products, or her mascara, or or or, simply by clicking the vid. Their player features a vid on the left, and a shopping slate on the right that displays availability info for the things you click. Hyperspots is a company based in Venice, CA.
There’s a working demo on their front page.
Technology like this opens up a world of advertainment that lets consumers volunteer to get more info about products and services available from marketers. Obviously this could work in apparel, but it’s also easy to see how home furnishings, or recipe food ingredients, or cars, or cleaning products could be marketed in this manner.
Their site positions it as an advertising replacement:
No more annoying and disruptive ads interrupting the viewing experience, Hyperspots puts your target audience in control. At anytime, anywhere in the media, a viewer can click to find out more information. By creating a new enriched clickable world, Hyperspots empowers the audience and enables advertising by choice!
Hyperspots technology creates a unique advertising opportunity geared toward engaged viewers willing to know more about the content. This efficient approach leads to high click-through rates, great conversion and very happy end-users.
Personally I don’t see it as an advertising replacement but rather as a supplement to enhance shopping and browsing experiences with entertaining video content that shows products in use versus on mannequins in web site gifs. It’s a virtual runway with instant access to a means to learn and buy.
Such videos might run on your site or on content sites. Each could offer an opportunity to more deeply engage with consumers who WANT to know more about the products and services you are promoting. ANd maybe even are itchin' to buy.
I don’t expect people will want Rachel’s sweater anymore – what with the show having been cancelled so many years ago and fashion having moved on a scosh. But as a new merchandising methodology, it holds the same promise today as it did when the concept first excited us years ago.
If you were in the business in the early- to mid-aught decade, you probably saw a demo of vaporware technology that would let the consumer click on a thing in a video (it was always an orangey pink sweater worn by Rachel from Friends) and see how and where you could buy it. There it was, in the online store of Express or Macy’s or wherever.
The technology was always touted as being just a few months away (like rocket jetpacks in the 1950s) but it never seemed to actually materialize. At least no one I know remembers actually seeing it.
But now I have. Hyperspots lets you buy an actress’s sweater, or her hair care products, or her mascara, or or or, simply by clicking the vid. Their player features a vid on the left, and a shopping slate on the right that displays availability info for the things you click. Hyperspots is a company based in Venice, CA.
There’s a working demo on their front page.
Technology like this opens up a world of advertainment that lets consumers volunteer to get more info about products and services available from marketers. Obviously this could work in apparel, but it’s also easy to see how home furnishings, or recipe food ingredients, or cars, or cleaning products could be marketed in this manner.
Their site positions it as an advertising replacement:
No more annoying and disruptive ads interrupting the viewing experience, Hyperspots puts your target audience in control. At anytime, anywhere in the media, a viewer can click to find out more information. By creating a new enriched clickable world, Hyperspots empowers the audience and enables advertising by choice!
Hyperspots technology creates a unique advertising opportunity geared toward engaged viewers willing to know more about the content. This efficient approach leads to high click-through rates, great conversion and very happy end-users.
Personally I don’t see it as an advertising replacement but rather as a supplement to enhance shopping and browsing experiences with entertaining video content that shows products in use versus on mannequins in web site gifs. It’s a virtual runway with instant access to a means to learn and buy.
Such videos might run on your site or on content sites. Each could offer an opportunity to more deeply engage with consumers who WANT to know more about the products and services you are promoting. ANd maybe even are itchin' to buy.
I don’t expect people will want Rachel’s sweater anymore – what with the show having been cancelled so many years ago and fashion having moved on a scosh. But as a new merchandising methodology, it holds the same promise today as it did when the concept first excited us years ago.
Wednesday, March 2, 2011
DVRs Creeping Up Toward 50% US
From Nielsen and the Center for Media Research comes this little tidbit about US DVR penetration, by race and by income.
Monday, February 28, 2011
Economic Progress of the World Viral Vid
Amazing representation of the economic history of the world's countries over 200 years.
Subscribe to:
Posts (Atom)