Seeking greater penetration is almost always the winning strategy rather than attempting to shift average weight of purchase.
Light buyers are your most valuable customers not loyalists. Virtually every brand needs more light buyers.
Buying is the desired outcome from marketing not engagement, participation or conversation. We are obsessed by the wrong metrics.
People never care enough about brands to want to be followers, friends or fans. Not at a scale that is commercially useful.
Brands need to ensure their mental availability but its fanciful and hideously expensive to remain ‘always on’ and few people want them to be.
Targeting is not the holy grail of marketing. It’s helpful to a point but rests on assumptions about human behaviour that are unpredictable and misleading.
Wastage is under-rated. One way or another wastage is a conversation with tomorrow’s customers.
There is no earned media. With a few highly notable exceptions, for most brands, all media is paid for media.
There is no one way advertising works. Any campaign can work in many different ways and often in ways that were not explicitly intended. And a great campaign will improve all your metrics.
Advertising works best with the consent of people. Consent that is best built when advertising is helpful, enjoyable and interesting. The digital inventory of today is destroying this consent day by day.
"The resell market, we know, is $1.2 billion.Nike, including Jordan brand,accounts for 96 percent of all shoes sold on the secondary market.Just complete domination.Sneakerheads love Jordans.And profit on the secondary market is about a third.That means that sneakerheads made 380 million dollarsselling Nikes last year.Let's jump to retail for a second.Skechers, earlier this year,became the number two footwear brand in the country,surpassing Adidas -- this was a big deal.And in the 12 months ending in June,Skechers's net income was 209 million dollars.That means that Nike's customersmake almost twice as much profit as their closest competitor."
And then the I read this --> Though this marks a historic moment of recognition for the pictures plastered throughout tweets and texts, Oxford has not added or defined any emoji in their actual databases. Nor, says a spokesperson for the publisher, do they have plans to do so at this point.
Big words and show-off words are irritating. But a good word makes all the difference. Something that's immediately understandable and well-chosen for the situation. Glamorous, joyful, diabolical. And on.
A word of the year has an annual opportunity to unify around a thought. It also creates a running history of our times.
A few of the other words on Oxford's 2015 short list:
ad blocker, noun: A piece of software designed to prevent advertisements from appearing on a web page.
Dark Web, noun: The part of the World Wide Web that is only accessible by means of special software, allowing users and website operators to remain anonymous or untraceable
sharing economy, noun:An economic system in which assets or services are shared between private individuals, either free or for a fee, typically by means of the Internet.
There is an important story within each of these, symbolic of the year, and new to our vocabulary. And you could actually look them up and define them, using something from Oxford.
At the heart of Pixar is the Braintrust, a rolling group of the studio's best creative minds which helps guide every film during development. The group's members change, but it grew out of the core team who worked on Toy Story and now make up Pixar's most acclaimed directors: Lasseter, Andrew Stanton (director of Finding Nemo and Wall•E), Pete Docter (Monsters Inc, Up, Inside Out) and Lee Unkrich (Toy Story 3). (Joe Ranft, a founding member who directed Cars, died in 2005.)
"The Braintrust isn't a particular set of people. It's what we call the group that gets together to address a problem," Catmull says. It meets every 12 weeks; meetings start with a screening of the most recent cut of a film. After lunch, the Braintrust provides notes on what works, and what could be improved.
"The key thing is: no mandatory notes," says Lasseter. That foundation -- the fundamental principle of candid, constructive feedback -- goes back to Lasseter's early experiences with Disney "when it was still an executive-driven studio", where animators were given mandatory notes by high-ups.
"My note doesn't carry any more weight than an animator's. No one has individual ownership of an idea, because someone will spark something and you build upon it -- so then, at the end, what you have is this feeling that everybody has shared ownership, and being proud of the whole thing."
"Our brand is about this idea that sports makes people better: not just fitness, not just because you're healthier, but because it encourages a work ethic, and discipline, and time-management, and all these amazing qualities. So we look for stories that speak to those values.
"We're a retail marketer, so we have direct mail, we have Sunday circulars, we have all these things that hit pretty hard. But whenever we just tell emotive stories, from ... all the metrics we look at, the storytelling outperforms on ROI … So it's been a business driver as well, even though that wasn't the intention at the beginning."
Can you imagine if, every time something new happened in Syria, Wikipedia published a new Syria page, and in order to understand the bigger picture, you had to manually sift through hundreds of pages with overlapping information? The idea seems absurd in that context and yet, it is essentially what news publishers do every day. The Particles approach suggests that we need to identify the evergreen, reusable pieces of information at the time of creation, so that they can be reused in new contexts. It means that news organizations are not just creating the “first draft of history”, but are synthesizing the second draft at the same time, becoming a resource for knowledge and civic understanding in new and powerful ways.