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BY TREVOR RAPPLEYE 

Getting the most from a trade show audience requires a strategic approach, so follow this advice from an industry insider.

I’ll never forget the first time I attended a franchise-related trade show. In 2019, I maxed out another credit card to register for the International Franchise Association’s annual convention. I had landed a couple of project videos for some franchise brands and knew I needed to learn more about the industry if I was to create quality video content on their behalf.

The trade show floor at the annual IFA Convention was overwhelming – even bigger in person than I’d expected. I was determined to see all of it over the next three days, to pick as many brains as I could because I clearly needed an education. But it didn’t take me long to notice that I wasn’t the only one who could use some pointers. Even though I’ve been in the video marketing business since my early teens, I grew increasingly surprised as I passed through one section of the floor to another. The exhibitors, which range from everything from emerging brands to funders, consultants, vendors, and suppliers all appeared to have one thing in common. There was no high-resolution imagery displayed. In fact, by my count, roughly five percent of them were utilizing any form of video content in their trade show booths.

It was right then and there that I realized that I had a value proposition to offer the franchising industry.

The fundamental aspect of a trade show booth

Companies – franchisors in particular – spend a good deal of money to exhibit at the industry’s wide variety of trade shows. Floor space doesn’t come cheap, and brands typically set out with the best of intentions when it comes to recouping their investment. These reserved spaces only offer a minimal amount of space to captivate the thousands and thousands of trade show attendees – and you’ve got to make the most of every inch. Once you get beyond staffing the booth with your most gregarious sales representatives, there’s the requisite table, banners, signage, and brand collateral to think about. This is a golden opportunity to showcase who you are, what your brand represents, and how you have something of value to offer to an extremely captivated audience. Months of planning often go into the design, layout, and execution of exactly how you’ll present yourself to the masses. But to forego any type of video content in the trade show booth? That makes no sense at all. Seven-eighths of our knowledge comes from visual cues. So, it stands to reason that video is the best possible way to showcase your brand’s value proposition, key differentiators, and provide your target audience with the social proof you need to communicate a compelling story.

Know before you go

Long before the trade show kicks off, and you’re still in the planning stages of creating your video content, there are a few hard and fast truths you need to understand. The most important factor to consider is the short amount of time you’ll have to make an impression with video — perhaps as little as five seconds for attendees casually strolling by. And you can forget about audio, music, or voiceover narration. Most trade show floors are crowded, noisy, and crammed with endless branding and messaging collateral, easily capable of causing sensory overload.

To get the attention of your prospective target audience, videos must be brief, eye-catching, impactful, and branded. Any caption layovers must be short, clear, and easily digestible to the naked eye. Everything you shoot must be edited down to a concise clip that differentiates your brand’s value proposition amidst an endless sea of options.

Creating a sensory experience through video

Whether it’s a trade show, convention, or expo, the floor is typically packed with exhibitors, each vying for the attention of the passing attendees. How do you create a sensory experience that draws people in and makes them want to learn more about your brand? To borrow a quote from Admiral William F. “Bull” Halsey, a top naval commander in the Pacific Theatre in World War II: “Hit Hard! Hit Fast! And Hit Often!”

Initially, you’ve got to grab their attention before you can showcase your product or service in a way that piques curiosity and is capable of spurring an interaction. The first few seconds of your video content must present strong, clear graphics, as well as high-energy clips and edits that can excite, attract, and engage – before following up with a call to action. Carefully crafted videos – no more than one to three minutes in length – that play on an endless loop are highly recommended. And it’s also advisable to have more than one video display, in an elevated position to draw attention from multiple directions.

Selling a product? Develop videos that go beyond product placement and show it in action. Demonstrate its’ capabilities, while using clear captions to explain its value proposition in writing. Selling a service? Create a brief – but impactful – montage that demonstrates the process of the service you’re selling. Use storytelling and visual cues to highlight the customer’s journey in patronizing the service you provide.

Shoot onsite

A well-crafted video for your booth, designed with the trade show audience in mind, can give you a decided edge against the competition. But your dedication to utilizing video shouldn’t end before the trade show kicks off. It can be a wise investment to consider shooting raw video and scenes right there on the convention floor. Any footage captured during the event can pay untold dividends on the back end. Brands with plenty of onsite content can distill these videos into a montage or “sizzle reel,” which can then be repurposed for follow-up opportunities, via email, your website, future blogs, or even social media posts, because nothing tells a brand story like your sales efforts in action.

BY TREVOR RAPPLEYE 

Trevor Rappleye has been an entrepreneur since 2003 – beginning his first company at age 13, converting VHS to DVD and filming family events. As the president and CEO of FranchiseFilming.com, he’s obsessed with storytelling, leadership, video marketing and filming social proof for brands and franchisors. The company includes A-list clients such as Neighborly, CVS, Home Depot, ADP, and FASTSIGNS. For more information on FranchiseFilming’s VIP Subscription Model with no travel fees, no scripts and videos in just 10 days, visit www.franchisefilming.com.

Sourced from Entrepreneur

 

Realistic-looking shampoo bottles and seltzer cans are popping up on videos from digital creators on TikTok and YouTube in a new form of old advertising.

Melissa Becraft, wearing a pink workout outfit, strikes a dance pose in a kitchen.
A screenshot of a recent TikTok from the dancer Melissa Becraft that used A.I to digitally superimpose a poster for Bubly, the sparkling water brand owned by PepsiCo, onto the wall of her apartment.Credit…via TikTok

Product placement, one of the oldest tricks in advertisers’ toolbox, is getting an A.I. makeover.

New technology has made it easier to insert digital, realistic-looking versions of soda cans and shampoo onto the tables and walls of videos on YouTube and TikTok. And a growing group of creators and advertisers is grabbing at the chance for an additional revenue stream.

A recent TikTok from the dancer Melissa Becraft featured a poster for Bubly, the sparkling-water brand owned by PepsiCo, hanging on the wall of her apartment as she shimmied to a Shakira song. A duo known as HiveMind chatted about bands while an animated can of Starry soda, another brand owned by PepsiCo, landed on a table between them. And a YouTube video of the “AsianBossGirl” podcast recently displayed a table of Garnier hair products.

Virtual product placements have been offered by start-ups and streaming services like Amazon Prime and NBC’s Peacock in recent years. But a recent wave of them on social media, in which brief, animated messages disclosing the sponsorships appear on the videos themselves, is the work of a start-up called Rembrand.

The ads provide a glimpse into one way A.I. might shape advertising in the future, especially as marketers look to reach younger viewers who are apt to skip or ignore standard ads.

Rembrand’s executives say their technology could transform product placements, which have often been used to cut production costs on bigger projects and can take weeks, months or sometimes years to negotiate.

For creators, it’s a way to make money from advertisers without physically handling products or discussing them.

“This feels like I’m making my own genuine content, but it doesn’t scream that I’m making an ad,” said Ms. Becraft, 28, who has made two TikTok videos that featured Bubly. “There’s no obligation for me to talk about it.”

Product placements in the United States are estimated to be a nearly $23 billion industry, according to PQ Media, a research firm. It has become increasingly appealing to advertisers, which have grown worried about consumers skipping commercials or the ads before YouTube videos.

The shifting viewership to social platforms and advances in technology have opened a new frontier for this work, moving it beyond getting Coca-Cola cups on the “American Idol” judges’ table or cereal brands into WB shows.

Our business reporters. Times journalists are not allowed to have any direct financial stake in companies they cover.

Rembrand, which has 42 employees and is based in Palo Alto, Calif., believes it’s on the forefront of these changes. It raised $14 million in seed funding from the likes of Greycroft and the venture arms of UTA Ventures and L’Oreal since it was created in 2022. One of its founders, Omar Tawakol, 55, spent years in programmatic advertising and is best known for founding and selling BlueKai — which helped marketers track users’ online behaviour for ad targeting — to Oracle in 2014.

Mr. Tawakol said he saw an opportunity to use A.I. to insert virtual products in influencer videos and make it a fast and easy ad buy.

Rembrand uses a form of generative A.I. that can “take an existing scene and figure out how to put a product in it,” Mr. Tawakol said. “The product has to look exactly right — Pepsi is not going to be forgiving if you screw with their logo,” he added.

The company “had to train the laws of physics into the network,” Mr. Tawakol said, so that objects would properly respond to things like light, camera distance and motion. Rembrand started placements with podcasts on YouTube because “they tended to be indoors, they tended to have fixed cameras, and they tended to have a table and a wall,” he said.

It then expanded to LinkedIn and TikTok; Instagram is next. (The company said it went with the name Rembrand — an allusion to the Dutch artist, who spelled it Rembrandt — because it wanted an artistic bent while also sounding like shorthand for “remember the brand.”)

Rembrand is still asking creators like Ms. Becraft to film indoors as they improve the technology. “The things I’m more famous for are dancing outside in the rain and dancing in Times Square,” she said. “They told me that if you do that our technology might have a heart attack.”

The placements are not as subtle as the ones in TV shows. Starry and Bubly cans wiggle before entering videos, and logos hover above them. The company shared a demo in which a digitized Tide Pen danced onto a podcast host’s shirt and wiped away a stain before vanishing, “Fantasia” style. The company experimented with “what animations were acceptable,” after realizing they could spike attention on the products, said Cory Treffiletti, 50, Rembrand’s chief marketing officer.

 

Madison Luscombe, chief marketing officer of the Creator Society, an agency that works with Ms. Becraft, said that while the use of A.I.-generated product placement was in its early days, the deals could be valuable for “entertainment creators” who are focused on performing, podcasting or playing games, and aren’t necessarily approached by brands as often to extol mascara or new snacks to their fans.

Advertisers use Rembrand’s marketplace to connect with more than 1,000 creators from agencies it works with. Creators upload their videos to its platform and receive them within 24 hours with the product placements. Rembrand has someone check for quality and someone else for how the brand appears. Then creators upload the clips and eventually get paid from the brands based on video views. Rembrand declined to share specific figures around payouts.

The company said it expected to turn into a “self-service platform” by the middle of this year, where any creator or brand could connect and run digital product placement campaigns without Rembrand’s involvement.

When asked why YouTube, TikTok and Instagram wouldn’t just offer this option directly to creators on their platforms, Mr. Tawakol said he would “love” if they wanted to work with him. “I designed my business to integrate it with platforms,” he said. “We want to be the world’s best at this one very specific problem.”

Sourced from The New York Times

 

By Dirk Petzold

The 5 most important tips for young designers who want to start their own business.

Embarking on the journey of entrepreneurship after honing your design skills is an exhilarating leap into the unknown. As a designer with dreams of launching your own business, you’re not just creating art; you’re crafting a brand, a vision, and a livelihood. To help you navigate this thrilling yet challenging path, we’ve distilled the essence of entrepreneurial success into five invaluable pieces of advice. Buckle up, aspiring designers, because your creative adventure is about to take a business-savvy turn!

  1. Define Your Niche: Aesthetic Specialization in a Sea of Designers

In a world teeming with creative minds, finding your unique niche is like uncovering a treasure chest. As a designer turned entrepreneur, it’s crucial to define your distinctive style or specialization. Are you the master of minimalist elegance, the guru of vibrant illustrations, or the wizard of user-centric interfaces? Carve out your space in the market by showcasing what makes your designs stand out.

The more defined your niche, the easier it becomes to attract a loyal audience. Clients and customers will seek you out for your signature style, creating a brand that’s not just memorable but indispensable in a saturated market.

  1. Invest in Your Brand: Your Design Studio is Your Canvas

Your brand is the canvas upon which your design business paints its identity. From the logo to the colour palette, every element should resonate with your design philosophy and appeal to your target audience. Remember, your brand isn’t just a logo – it’s an experience.

Invest time and resources in crafting a brand that tells a story, evokes emotions, and leaves a lasting impression. Consistency across all touchpoints, be it your website, social media, or business cards, builds credibility and trust. Your brand is not just a representation; it’s a promise of quality, innovation, and reliability.

  1. Master the Art of Networking: Connections that Design Futures

In the business world, connections are golden tickets to opportunities. Networking is not just about exchanging business cards at events; it’s about building meaningful relationships that can elevate your design business to new heights. Attend industry conferences, join online communities, and engage in conversations with fellow designers, entrepreneurs, and potential clients.

Networking goes beyond the digital realm as well. Attend local meet-ups, collaborate with other creatives, and be genuinely interested in the people you meet. Your network isn’t just a safety net; it’s a springboard for new projects, collaborations, and invaluable insights that can reshape your business strategy.

  1. Develop a Business Mindset: Beyond Pixels and Pantones

As a designer turned entrepreneur, your business prowess is as important as your design skills. Understand the financial aspects of running a design business, from budgeting to pricing strategies. A successful business is not just about creating beautiful designs; it’s about delivering value to your clients and maintaining a healthy bottom line.

Learn to embrace challenges as opportunities for growth. Develop a keen eye for market trends, understand your competition, and be agile in adapting to industry shifts. Balancing your artistic vision with a strategic mindset will ensure your design business not only survives but thrives in a competitive landscape.

  1. Prioritize Client Relationships: Designs That Speak and Clients Who Listen

Client relationships are the lifeblood of your design business. Your ability to understand and meet your clients’ needs goes beyond technical proficiency. Communication is key, and active listening is an art form in itself. Cultivate a collaborative atmosphere where clients feel heard, valued, and part of the creative process.

Transparency is paramount – set clear expectations, provide regular updates, and be honest about timelines and challenges. A satisfied client is not just a one-time customer but a potential advocate for your brand. Building long-lasting relationships fosters trust, leading to repeat business and positive referrals that can fuel the growth of your design enterprise.

Embarking on the journey from designer to entrepreneur is an exciting endeavour that demands a blend of artistic flair and business acumen. By defining your niche, investing in your brand, mastering the art of networking, developing a business mindset, and prioritizing client relationships, you’re not just starting a business – you’re crafting a legacy. As you navigate the dynamic landscape of entrepreneurship, let your designs be the beacon that guides your path to success. Cheers to the future, where pixels meet profit and creativity sparks commerce!

Feature Image Credit:  @rh2010 via Adobe Stock.

By Dirk Petzold

Instagram: @weandthecolor

Sourced from WATC

By Adam Rowe

Fully remote, asynchronous, and high-paying jobs aren’t easy to come by. Here are the best positions for digital nomads.

Stay-at-home positions are becoming a little more scarce in the US than they were a few years earlier, both due to CEO-led return-to-office crackdowns and to industry-wide tech layoffs that are still ongoing.

But who says you need to stay in the US? Digital nomads have branched out to operate in countries around the globe, from South American locales to Eastern European countries. Anywhere with a Wi-Fi hotspot and reasonable work visa regulations could serve as a great way to experience international culture while working at your own pace.

However, you’ll need to figure out a sustainable way to earn that living: Your job must be a position that can be completed entirely online and doesn’t come with timezone requirements. Thankfully, with the internet-powered global economy we have today, that’s not impossible.

1. Digital Marketer

Digital marketers or strategists might be SEO experts, content marketers, social media managers, or a combination of the above. The core defining trait is that you help businesses connect with their audiences where they’re at (which is to say: online somewhere). You’ll likely be buying plenty of Facebook ads.

You may want to find an online store or other business that needs you to establish a full-time online presence, or you could opt to work for a larger SEO-focused organization. For one example of the latter, the large SEO company Coalition Technologies has a fully remote Digital Strategist position open currently.

You can also pick a field that you have experience in, which can help you stand out from other applicants by giving you a niche. If you have experience in hospitality, for example, you might want to apply for the Digital Marketing position open at the hospitality platform Selina right now.

Required skills: Google Analytics, SEO, SEM, email marketing, copywriting, basic graphic design and video editing ability.

Avg. Annual Salary (~): $77,381 (ZipRecruiter)

2. Social Media or Community Management

The soft skills needed to keep an entire online community on track — whether it’s the Facebook page for Pepto-Bismol or a Discord dedicated to product managers — are both important and rare. Provided the business you’re applying to is aware of this, you’ll be able to command a good salary when working as a community and/or social media manager.

It’s a good position for digital nomads, too. Even if you’re across the world in Georgia (the country, not the state!) or Portugal, you’ll be able to create a full social media schedule that continues auto posting around the clock. Alternatively, you can handle immediate online responses that might have required a night shift in the US.

Required skills: Social platform knowledge, moderation skills, community metrics, and cross-functional collaboration with marketing and customer support teams.

Avg. Annual Salary (~): $81,385 (BuiltIn)

3. Software Engineer

There’s no denying that software engineering roles have huge potential for digital nomads: They’re frequently paid well, they’re key positions at many businesses, and many engineers can do their job fully online.

That said, it’s a skilled position that might call for knowledge across dozens of areas of expertise, making it difficult to get started with. Many of the best remote positions require at least five years of previous experience as an engineer. It’s a good remote role to have, but you may need to put in your time with an in-office position first.

To be honest, this isn’t just one role, it’s a myriad of them. You may find yourself working as a Senior BlockOps Engineer for Sygma, working in system administration, or you could be in development as a Senior Full Stack Engineer at Kalepa, just to name a few open roles available now on the Working Nomads job board.

Required skills: Java, Python, SQL… and much more.

Avg. Annual Salary (~): $147,524 (ZipRecruiter)

4. Web Designer

Web designers are always in demand online. Creating a user-friendly website is just the first step, since those websites will need regular maintenance to continue operating as intended. Eventually, they’ll need a full rehaul, and the process begins again.

Artists might find that many of their skills translate well to the higher-paying career of web design: Adobe Creative Suite can be used to craft visually appealing layouts, while knowledge of UX/UI design, design principles, colour theory, and typography skills will be used frequently. Technical skills include coding for front-end development, however.

You won’t need to have a full-time position, either. Digital nomads often work freelance, finding a single gig that mean a limited amount of work but a payday that will buy several months’ worth of simple living in another country. And there’s always a chance that a freelance gig can turn into a full-time role down the road.

Required skills: HTML, CSS, and JavaScript; design principles; problem-solving skills.

Avg. Annual Salary (~): $48,000-$75,000 (Coursera)

5. Virtual Assistant

It’s impossible to pin down all the tasks that a virtual assistant might handle in one day, although answering email and fielding customer service requests are two of the most common.

A typical client who’s on the hunt for a virtual assistant is someone who’s running their own relatively small ecommerce businesses: As they scale up, certain easy administrative tasks will start adding up, taking over an entrepreneur’s time. The smart move is to pay someone else to do it, and since many of these entrepreneurs are digital nomads themselves, they’ll very likely be happy to hire a fellow nomad.

The upside to being a virtual assistant is that it’s an entry-level position, making it among the easiest ways to transition to the nomadic lifestyle you’re after. The downside is that it’s also often among the lowest paying options, as well. One word of advice: Stick with the clients who are willing to pay you the most, since they’re likely the most empathetic to your needs and (counterintuitively) will be easier to work with than the business owners who pay peanuts.

Required skills: Stellar communication, fast typing speeds, spreadsheet skills, and the willingness to learn.

Avg. Annual Salary (~): Anywhere from $25,000 to $55,000

6. Data Analyst

Alongside software developers and web designers, data analysts are one of the best digital nomad tech careers. Any business will need its data collected and processed in order to make better decisions, but few people are built for the skillset that’s needed. You’ll have to learn statistics, coding, and a range of data visualization tools, in addition to having a talent for spotting patterns in the datasets themselves.

It’s another role that doesn’t require synchronous communication, giving a digital nomad time to work in solitude from whatever time zone they’re in at the time. Provided you can deliver your reports or presentations on time and with the right attention to detail, you should be given the autonomy you need.

Better yet, the need for data analysis is ubiquitous across nearly every industry, including governments, so you’re unlikely to be in need of work — even if the amount of layoffs in the tech industry these days would give anyone pause.

Required skills: Analytical skills, good attention to detail, and skills with data analysis tools.

Avg. Annual Salary (~): $82,640 (ZipRecruiter)

How to Apply for Digital Nomad Positions: Best Practices

Actually landing a job that you can do from anywhere is easier said than done. Unless you already have a connection, you’ll need to get very familiar with all the job board filters that can weed out any positions that require you to be based out of a certain city or even country. For Google, that’s the “work from home” button, but it might look different for any job board.

You can also try a job board dedicated to digital nomads, with options ranging from Remotive or We Work Remotely to more specialized boards such as the startup-friendly Wellfound or the women-only Power to Fly. As always, you should lean into your previous experience whenever possible when applying.

Finally, don’t forget to gain a little experience in tech tools that will help you stay safe while working entirely over the internet, either. You’ll definitely want a good business VPN for starters.

By Adam Rowe

Adam is a writer at Tech.co and has worked as a tech writer, blogger and copy editor for more than a decade. He was a Forbes Contributor on the publishing industry, for which he was named a Digital Book World 2018 award finalist. His work has appeared in publications including Popular Mechanics and IDG Connect, and his art history book on 1970s sci-fi, ‘Worlds Beyond Time,’ is out from Abrams Books in July 2023. In the meantime, he’s hunting down the latest news on VPNs, POS systems, and the future of tech.

Sourced from tech.co

By 

You can’t just be “authentic” and “accessible” when times are good.

A big powerful organization with a carefully manufactured image gets embroiled in a conspiracy theory about one of its most beloved and valuable brand ambassadors. To try to quell the uproar, said organization takes to its social feeds. But when those posts turn out not to be the full story, the conspiracy mushrooms, sparking even more intense scrutiny and mass intrigue.

We are, of course, talking about Kensington Palace’s Kate Middleton crisis (because who isn’t). But the British monarchy is essentially a massive global brand — there’s a reason it’s known as The Firm — and the mess it finds itself in right now should be a warning to any business that thinks it can control its own messaging.

What turned the most casual royal watchers into crazed professional internet sleuths is the now-infamous photo that was posted by the Prince and Princess of Wales’s handle on X (formerly Twitter) on Sunday. The image of Middleton with her three children was meant to quell questions over the health of the princess, who hadn’t been seen in public since December. Instead, the obviously doctored photo only set off more alarm bells. The explanation that Middleton had been the one to alter the image was about as likely as a C-suite executive claiming they had just logged on to the company’s corporate Instagram account to casually touch up a post.

Much of the analysis of the photo and the ensuing uproar focused on how this episode is an early taste of what’s to come as AI and deepfakes feed into our post-truth world. But the erosion of society’s faith in its biggest institutions (including the British crown) started long before such technologies existed. And conspiracy theories, like the ones that have been swirling around the princess’s disappearance, are more likely to take hold when people are looking for some sense of control and certainty when the world’s long-established norms and power structures are in flux.

Recognizing that they can seem out of reach and out of touch, brands have taken to social media to meet their consumers where they are. The younger generation of the royal family has done the same, attempting to show a side of itself that has long been hidden behind all the pomp and circumstance. But when you attempt to regularly engage with an audience in order to come across as accessible, it only amplifies the decision to go silent when things take a turn.

We do not know what’s going on with Middleton, and she has a right to her privacy. But the family has put itself in the uncomfortable position of straddling a space between new and old media, laying out the expectation that it will talk to its followers directly and candidly through X and Instagram. But in this moment of crisis, it has fallen back on the old way of doing business — official releases and explanations that make vague references to “personal matters” and “ private appointments.”

The royal family has learned the hard way what every big company brand should already know: If you’re going to play on social media and court an engaged and active audience, you better know what you’re doing. A sophisticated following will parse your every move and pull apart your every post. It’s dynamic and fun when times are good, but not so much during a crisis. Your audience, however, will expect to hear from you on both occasions. If you stay quiet, they will fill the vacuum with their own TikToks and tweets and Instagram posts. And if you dare lie to them, they will sniff it out immediately, further degrading whatever trust and goodwill you have managed to build.

This episode made me think of my past coverage of the vegan food delivery service Daily Harvest, which is a useful case study of the “live by social media, die by social media” phenomenon. It’s a small company that managed to build an impressive following during the direct-to-consumer boom of the 2010s. But when one of its products sickened hundreds of people, the startup was criticized for taking too long to send out any sort of clear update on Instagram and other platforms, where it was in regular conversation with its customers. Just as social media amplified its brand on the way up, it also amplified its failings and acted as a forum for its very online customer base to share theories (some of them of the conspiratorial variety) of what had made them ill.

In this case, it’s a key brand ambassador who is having the health problems — we just don’t know of what variety or how severe. The “Where’s Kate” crisis has been felt more acutely in large part because of the unusual level of transparency King Charles III has provided into his own health. Why has The Firm been relatively open about the king’s condition while remaining so vague about Middleton’s? It’s likely a function of the way the royals run their press operations, with each couple having their own team. This is akin to every member of the C-Suite running their own communications apparatus — which they often do. But this is a reminder that in times of crisis, a failure to have one overarching strategy will reveal an organization’s internal conflicts and dysfunction to the public.

Social media can be a powerful tool for institutions trying to restore and build trust. But it can just as quickly destroy it. With the photo debacle, the royals have been caught peddling mistruths online in an attempt to quiet the ones spreading about Middleton. The best thing for any brand to do when faced with this kind of crisis of confidence is to tell the truth and own up to its mistakes; the problem is, it will now be that much harder to believe them.

Feature Image Credit: Photographer: Mark Cuthbert/UK Press

By 

Beth Kowitt is a Bloomberg Opinion columnist covering corporate America. She was previously a senior writer and editor at Fortune Magazine.

Sourced from Bloomberg

By Michele Laufik

Hospitality companies can capture more customers, and build lifelong brand loyalty, by integrating more residential assets.

Dive Brief:

  • As the U.S. lodging industry reaches maturation, hotel brands and owners will need to expand services for existing customers or attract new customers in order to generate higher same-store sales, according to a recent analysis from CBRE. That’s because it will be increasingly difficult to generate return on investment through unit growth.
  • The authors of the analysis expect hospitality players to partner with residential real estate companies to create living options like student housing, co-living, senior communities and vacation homes.
  • Taken together, recent societal shifts — like remote work, rising housing costs, delayed family formation and the prioritization of sustainability goals — make the integration of coworking and residential assets into hotel brands a smart move, according to the report. Some companies, like Accor, have already implemented this into their strategy.

Dive Insight:

Hotel brands have been known to form alliances with credit card companies, car rentals, airlines, short-term rental management companies, spas and cruise lines as a way to expand branded loyalty programs and increase market share. But these strategic alliances only go so far, according to CBRE: While they may help increase the dollars spent in hotels, they won’t necessarily create new customers.

Implementing residential lodging, however, could attract new customers beyond the traditional business and leisure travellers as well as enhance business diversification.

A company like Marriott, the report gives as an example, could “capture a large share of future guests’ wallets” by offering housing for each stage of life: student housing, corporate housing and retirement housing that would extend “brand loyalty into the later stages of life.”

This comprehensive strategy would also allow hotel brands to engage with guests outside of the traditional peak travel ages — early 30s to late 50s — as well as during shoulder periods.

According to CBRE, several hospitality companies such as Accor, Hyatt and Marriott, have already started down this path. The report cites hospitality-branded residential developments like the Storyliving by Disney community and the Margaritaville and Canyon Ranch senior living properties, plus Selina’s coliving program, as examples.

Hyatt Hotels Corporation also recently launched a short-term vacation rental platform called Homes & Hideaways by World of Hyatt, which features a collection of private home rentals in leisure destinations across the U.S.

Feature Image Credit: onurdongel via Getty Images

By Michele Laufik

Sourced from HOTEL DIVE

By Katy Cowan

Publication weaves a narrative around the influential studio’s three decades through the lens of work for brands such as Amazon, McDonald’s and legendary band Metallica.

The storied history of one of the world’s foremost brand design studios, Turner Duckworth, is the subject of a new book out this month.

Published by Phaidon in the UK, the book tells the shared experience, instincts, and insights behind the studio, founded by David Turner and Bruce Duckworth, through a collection of essays that examine the company’s most recognisable work over the past 30 years and more.

Each essay explores the essence of design and how to harness it through branding, packaging, and art. It is a kind of insider’s guide to what can often be seen as an insular corporate world where high-level decisions about branding and logo design are made.

The book has been written in collaboration with Gyles Lingwood, professor of business creativity at the University of Lincoln and features contributions from twenty renowned industry figures, including Morgan Flatley, global chief marketing office and new business ventures, McDonald’s, Moira Cullen, former design director of Coca-Cola North America, Linda Lee, chief marketing officer of Campbell’s meals and beverages, Stefan Sagmeister, an internationally celebrated designer; and Jessica Spence, North American president of Beam Suntory.

Sarah Moffat, chief creative officer of Turner Duckworth, comments: “As a company, we’ve never adhered to the conventional practice of having a business plan. There’s no claim to pioneering a radically new approach, nor can we pinpoint a single genius move that propelled us to success. Our foundation is rooted in doing what feels right.

“To capture the essence of this powerful emotion, we reached out to 20 kindred spirits, affectionately known as Turner Duckworth friends and family, to share their experiences from various aspects of the creative industry.

“This is not your typical agency retrospective or a step-by-step design manual. There’s something in this book for anyone interested in cutting through complex mental clutter and evoking genuine emotions.

“We deliberately opted for simplicity, steering clear of a high-production coffee table book. The upturned corner is an invitation to scribble notes in the margins, while the modest size fits effortlessly on your bedside table.”

Turner Duckworth – which has studios in London, New York and San Francisco – has earned over 600 honours, including the inaugural Cannes Grand Prix for Design, a D&AD Collaboration Award, induction into the Clio Hall of Fame, and even a Grammy.

‘I Love It. What Is It?’ is intended as a testament to these accomplishments, capturing what the studio says is its “unwavering belief in instinct, risk-taking, and innovation”. It is full of great imagery, relevant quotes from figures as diverse as Bruce Lee to T.S. Eliot and plenty of anecdotes to keep you reading whether you’re an agency veteran or new to the world of branding and design.

The book is published on 24 February by Phaidon and will cost £29.95.

 By Katy Cowan

Sourced from Creative Boom

BY TOM WICKY

These three tips can help you move products outside of this online retailer as well.

Amazon is a behemoth of a marketplace that every e-commerce merchant should be on, or at least consider. However, with competition so fierce, it can be all too easy to fade into the background.

Follow these three practical steps to get more sales on and off of Amazon.

Address issues proactively

Pay attention to product reviews and feedback. If a particular issue or concern is recurring, address it at the source, be it product design or shipment packaging.

Then, when a customer has a negative experience, apologize sincerely and offer solutions, which could be a refund, replacement, or a discount on future purchases.

Offer additional value

If your product requires assembly or specific instructions, consider creating easy-to-understand online guides or video tutorials. Link to these resources in your product listings or follow-up emails.

Another way to add value is to reward loyal customers with exclusive discounts or early access to new product launches.

2. Build brand loyalty

Building brand loyalty can be difficult when a marketplace has so many options and sellers to choose from. However, you can help promote customer loyalty by being strategic in your packaging and investing in your brand presence on social media.

Personalized touch

Consider including a personalized thank you note in your product packaging. While this is logistically more challenging with FBA, you can achieve it with some planning.

After purchase, you can also send a follow-up email checking in on the customer’s experience and offering assistance if needed.

Build an off-Amazon presence

Engage with customers on social media platforms like Instagram, Facebook, or Pinterest. Share behind-the-scenes content, gather feedback, and announce promotions. You could also create a brand website and encourage Amazon customers to sign up for newsletters. This allows you to communicate directly with your customer base and foster loyalty.

Providing stellar customer service can significantly enhance brand perception. Additionally, acquiring a new customer is often more expensive than retaining an existing one. By focusing on building trust, loyalty, and offering unparalleled support, Amazon FBA sellers can ensure long-term success.

Use an experienced FBA prep partner to ensure your product packaging complies with Amazon guidelines. Companies such as mine, MyFBAPrep, can help you strategize your unique packaging, source materials, put everything together, and send shipments into Amazon for you.

3. Enhance customer engagement and reviews

Amazon’s marketplace is competitive, and often the difference between a closed sale and a missed opportunity can be your product’s reviews and how you engage with customers. As such, you should actively solicit reviews.

Use Amazon’s automated email system

Amazon’s system can ask customers for reviews after they’ve received and spent time with their purchase. A gentle and neutral reminder can sometimes nudge satisfied buyers to leave positive feedback. Then, show appreciation for positive reviews with a brief thank you to foster goodwill and loyalty.

However, if someone leaves a negative review, promptly address their concerns. A professional and courteous response can sometimes turn a dissatisfied customer into a loyal one.

Brush up on Amazon’s review policies before you request reviews. Importantly, reviews must be honest and authentic, and you cannot incentivize positive reviews.

Handle returns gracefully

One of the advantages of Amazon FBA is its streamlined return process. Ensure customers know how easy it is to return products if they’re dissatisfied.

When a product is returned, try to ascertain the reason. This feedback can be invaluable for product improvements.

While a quality product and optimized listing are critical, how you engage with customers can make or break your brand’s reputation on Amazon. Positive interactions and reviews boost immediate sales and drive long-term success by building trust and credibility on the marketplace.

By prioritizing your customers and building loyalty, you can enjoy more sales and engagement both on and off Amazon. Having consistent customers, and providing a reliably good customer experience will help build your brand’s reputation.

Feature Image Credit: Getty Images

BY TOM WICKY

CO-FOUNDER AND CEO OF MYFBAPREP

Sourced from Inc.

BY KALI HAYS 

“Social Media is Dead. Long Live Snapchat!” Snap’s CEO wrote in the title of a leaked memo.

This article originally appeared on Business Insider.

Evan Spiegel told Snap employees this week they work for a rare social-media platform that “makes people happy.”

In an internal note sent Monday, the co-founder and CEO seemed intent on rallying the Snapchat operator behind a sense of “urgency” after seeing several quarters of stalled revenue growth, layoffs, and struggles with its advertising business.

“Social Media is Dead. Long Live Snapchat!” he wrote in the title of the memo.

Spiegel said the company has “reached a real turning point,” while lashing out at rivals that he vaguely alluded to as Meta‘s Facebook and Instagram, along with the X platform formerly known as Twitter.

“This year is a chance to build on all the momentum we’ve developed and deliver on our full potential,” he wrote in the memo, a copy of which was seen by Business Insider.

Spiegel highlighted specific work done by Snap‘s data science, content, augmented reality, and monetization teams to improve the company’s performance for users and advertisers.

Early 2024 priorities

For at least the first half of 2024, he said Snap will focus on “bringing together several critical projects we believe are essential for our long term success.” Those include:

  • Shifting to focus on more user growth in developed markets like North America and Europe
  • Requiring a more “more iOS-centric approach”
  • Further efforts to improve ad targeting and performance
  • And the unification of “content and ad interactions” across Spotlight and Stories, Snapchat’s main features, with a vertical swipe navigation

Success in these objectives is required for Snap to be in the financial position Spiegel wants in order to push further into AR products.

“Timing matters, hence the urgency, because consumer augmented reality glasses will gain momentum before the end of the decade, and this is our chance to transcend the limitations of the smartphone and provide a computing experience that is more sensational and shareable,” Spiegel said. “We need our business to be strong enough and profitable enough to deliver the future of computing in augmented reality.”

Lashing out at rivals

Toward the end of the note, Spiegel took aim at rivals in the social media space. He harkened back to the founding of Snapchat over a decade ago, saying he and Bobby Murphy wanted to build “an antidote to the online popularity contest that started with MySpace, evolved into Facebook, and eventually became Instagram.”

A Snap spokesman declined to comment, noting only that during a Tuesday appearance at CES in Las Vegas, Spiegel mentioned his early ambition to differentiate the platform. “Bobby and I grew up with social media, MySpace, Facebook, then Instagram, and felt this constant pressure to be pretty perfect online to get likes and comments, to grow followers, and we just wanted something that we could use to have fun with our friends and our family,” Spiegel said during the event.

He went further in his Monday note to staff, however. Spiegel positioned Snapchat as a platform offering “happiness,” to teens specifically, through its messaging features and focus on close relationships. Meta on Tuesday announced new features on Instagram and Facebook aimed at making the user experience for people under 18 better as scrutiny has increased on teen mental health issues being exacerbated by content on Instagram, in particular. The company is facing dozens of lawsuits over the issue.

Spiegel seemed to refer to other issues on Meta’s platforms, like child exploitation material, as well as on X, and platforms’ issues with content moderation around the Israel-Hamas war.

“We’re certainly far from perfect, but while our competitors are connecting pedophiles, fuelling insurrection, and recommending terrorist propaganda, we know that Snapchat makes people happy,” Spiegel wrote.

In an employee-only chat posted to Blind, where users’ workplaces are verified, employees expressed frustration with the way Spiegel seemed to speak about competitors, specifically Meta. “You can clearly tell Evan’s hatred for Meta in most of the letters he sends out,” one employee said.

For the full note, see below:

Social Media is Dead. Long Live Snapchat! 8 Jan

Dear Team,

Happy New Year! I hope you all have had the opportunity to rest and recharge over the holidays. We’ve got a lot of hard work ahead of us in 2024. After years of fighting through many challenges like the pandemic, platform policy changes, and economic upheaval – all while taking on tough competitors and changing regulations – I feel we’ve reached a real turning point. This year is a chance to build on all the momentum we’ve developed and deliver on our full potential.

So much of the progress we’ve made lately has been the result of focusing intently on who we are and the role we play in people’s lives – empowering people to express themselves, live in the moment, learn about the world, and have fun together. Snapchat enhances our relationships with friends, family, and the world.

When we help people enhance their relationships, our business grows. For example, our product, growth, and data science teams developed a new methodology for determining close friends on Snapchat and use that to build features that are more likely to support close friendships. People who have close friends on Snapchat are more likely to retain over longer periods of time, so when we help people find and connect with their close friends we support the happiness and wellbeing of our community while also growing our business.

Relationships are the heart of everything we do. Our content team has used insights around relationships to recommend content in Spotlight that people want to share with their close friends. Our monetization teams are intently focused on helping advertisers form relationships with the right customers. Our augmented reality teams have created a new framework for ranking Lenses that promotes Lenses that people want to send to their friends.

The first half of this year brings together several critical projects that we believe are essential for our long term success:

First, we are continuing to evolve our machine learning models to better differentiate amongst ad interactions across our platform. Our efforts last year showed that evolving our models to drive more down-funnel, post-click engagement reduces waste and improves performance for advertisers. This year we are expanding those learnings across all of our advertising objectives.

Second, we are unifying content and ad interactions across Spotlight and Stories to reduce confusion. This means that Stories and Spotlight will both feature vertical swipe navigation, with a consistent call-to-action for linking to long-form content or engaging with ads. These unified interactions will also allow us to combine content inventory and ranking across Spotlight and Stories which will improve the likelihood that we can recommend the right personalized content for each Snapchatter.

Lastly, we are shifting more of our focus towards user growth in our developed markets like North America and Europe. Over the past several years, we’ve driven enormous growth in daily active users by focusing on Android performance in large countries like India. We will continue to build on our momentum in large opportunity countries in the APAC region while increasing our investment in improving the product experience for our community in North America and Europe. Doing so requires a more iOS-centric approach in these regions and a continued focus on helping our community connect with their close friends, especially for people who use our service monthly but not daily.

We believe that focusing on these three projects will help us to improve performance for advertisers, deepen content engagement, and increase daily active use of Snapchat – ultimately accelerating our revenue growth and increasing free cash flow. Timing matters, hence the urgency, because consumer augmented reality glasses will gain momentum before the end of the decade, and this is our chance to transcend the limitations of the smartphone and provide a computing experience that is more sensational and shareable. We need our business to be strong enough and profitable enough to deliver the future of computing in augmented reality.

Thirteen years ago Bobby and I set out to build something different. We wanted a way to communicate that was fast, fun, and expressive. An antidote to the online popularity contest that started with MySpace, evolved into Facebook, and eventually became Instagram.

In 2012, we declared that we were building something different to capture the full range of human emotion, not just what is pretty or perfect. Then, in 2017, we separated social from media to strengthen relationships with friends. In 2024, we’re on the precipice of another revolution in personal computing that began with the desktop, evolved into the smartphone, and is becoming wearable with Spectacles, our augmented reality glasses.

We’re certainly far from perfect, but while our competitors are connecting pedophiles, fueling insurrection, and recommending terrorist propaganda, we know that Snapchat makes people happy. New research published today from the University. of Chicago’s NORC shows how our core use case of messaging is a key source of happiness for young people

Messaging is the only feature on online platforms that makes a majority of both teens and young adults happy, as 2 in 3 say messaging with family and close friends makes them extremely or very happy. On the other hand, a majority of teens and young adults feel overwhelmed at the way social media makes them feel pressured to post content that will get lots of likes and comments, or will make them look good to others. Perhaps most importantly, according to the NORC data, respondents who use Snapchat report higher satisfaction with the quality of friendships and relationships with family than non-Snapchatters.

At a time when more people are feeling lonely, suffering from constant judgment online, and exposed to harmful content, snapchat offers something different: a way to enhance relationships with your real friends. And soon, we will offer a new way to use computers that brings the benefits of the Internet and computing into three dimensions, grounded in the real world, and shareable with friends – unlike any experience that exists today.

Technology isn’t going away. It’s our responsibility to make it more human, more natural, and more seamlessly integrated into our lives, so that we can benefit from its positive potential while avoiding the pitfalls. It isn’t just an exciting opportunity – it’s existential.

Your leadership and the work you are doing everyday matters deeply to our future. Let’s not waste a minute.

 

Feature Image Credit: Joe Scarnici | Getty Images via Business Insider

BY KALI HAYS 

Sourced from Entrepreneur

By Angela Watercutter

Visits to music piracy websites went up more than 13 percent last year, a new report says. The majority of those visits were to sites that allow users to download the audio from YouTube URLs.

Dozens of artists descended on Los Angeles for the 66th annual Grammy Awards. Trevor Noah will tell jokes, musicians will get trophies—and somewhere on the internet, someone will be downloading their music for free.

There were more than 17 billion visits to music piracy websites worldwide last year, a staggering 13 percent increase from 2022, according to research firm Muso. After years of downturn in music piracy brought about by streaming services like Spotify and Apple Music, the uptick is somewhat startling. According to Muso’s report, the increase shows “an urgent need for the [industry] to understand the changes continuing to drive consumers toward unlicensed channels.”

Music piracy had generally been on the decline over the past seven years, in large part because artists and labels stopped offering exclusive album releases to certain music platforms, says Muso CEO Andy Chatterley. Back in 2016, albums like Beyoncé’s Lemonade and Frank Ocean’s Blonde would be released as exclusives on Tidal or Apple Music and then get pirated by folks who didn’t use those services. Following a missive from Universal Music Group CEO Ludcian Grainge decrying the practice, exclusives died down. So did piracy. Now, it’s back in a big way.

Chatterley says there are multiple factors causing the resurgence, but he suggests that in some cases it’s a matter of people not being able to afford music streaming services. In others it’s a matter of mobile data costs being high in some regions, leading people to download tracks to their phones over Wi-Fi rather than streaming them over a mobile data connection. He points to one specifically surprising stat in Muso’s findings: Some 40 percent of the music piracy the firm tracked went to sites that rip the audio from YouTube videos and turn it into downloadable music files. That represents the largest share of piracy, according to Muso’s data—more than illegal streams, torrents, or other forms of web downloads. “It’s a really significant problem,” Chatterley says.

When asked about Muso’s findings, YouTube spokesperson Jack Malon noted that as soon as the video-sharing service is alerted to stream-ripping tools, steps are taken to block offending domains and develop technical methods to stop their use. YouTube also has a staff dedicated to sending cease-and-desist notices to those behind such applications. “We invest significant resources in tools to report and manage copyrighted material, while working closely with other industry leaders to set the standard for how tech companies fight piracy,” Malon says. “We remain committed to continuously strengthening these efforts.”

Muso wouldn’t disclose which ripping sites it tracked for its latest report. Chatterley says this information is being withheld in order to not promote piracy services. The firm also wouldn’t disclose how many downloads the ripping sites were responsible for. To provide context, Chatterley offered up torrent numbers for 2023.

Take, for example, Taylor Swift. The ubiquitous phenom is up for six Grammys this weekend and, although she didn’t release a new album in 2023, had six of the top 20 top-selling records in the US. Her release of 1989 (Taylor’s Version), the rerecorded version of her 2014 powerhouse pop record, sold some 2.9 million copies—the biggest-selling album of any year in nearly a decade. That same album was downloaded via torrent more than 275,000 times. (The original 2014 version of the album was torrented 430,077 times.)

The other albums Swift had on that top-20 list also saw large numbers of torrents. Like 2022’s Midnights. That record was torrented more than 493,000 times last year. In fact, most of Swift’s most popular albums—Speak Now, Red, Folklore, Lover, Evermore—were torrented between 400,000 and 700,000 times. All told, Swift albums were torrented fewer than 5 million times in 2023, which seems like a small figure when you consider that Swift sold 19 million records in the US alone in that time, according to data from Luminate. Then you remember that torrents are the smallest fraction of music piracy worldwide; only about 3 percent of visits to piracy sites worldwide led to someone seeking out a torrent.

And now that piracy appears to be on the rise—again. It’s been nearly a quarter-century since Napster changed how people acquired music. In that time, scores of options have emerged for how to buy and stream tunes, but snagging them from the internet may never go away.

Feature Image Credit: Getty

By Angela Watercutter

Angela Watercutter is a senior editor at WIRED covering pop culture. She also serves as the publication’s deputy bureau chief in New York. Prior to joining WIRED she was a reporter for the Associated Press. Watercutter was also a senior editor of Longshot magazine and a contributor to Pop-Up Magazine. She received a bachelor of science degree in journalism from Ohio University.

Sourced from WIRED