Archive for ‘marketing music clip’

August 14th, 2009

Mareva Galanter, Laisse Tomber les Filles cover & social media

by Laurent François

Little question: what if “covers” were the first footprints of Meme Marketing. Mareval Galanter has just started the social media adventure via Twitter et MySpace.

August 3rd, 2009

What Ray Drecker teaches to marketers: winning tool is not enough

by Laurent François

Just a little glimpse to the brilliant new series “Hung“/

to the question: “what’s your winning tool”, Ray answers “my dick”. He first tries in a very direct way to sell his core competence…without true sucess.

And then, you see diverse issues that Ray has to solve:

  • find a team and a business value chain
  • promote his asset
  • target the right people
  • learn how to better satisfy consumers
  • leverage experience in the long-term (better clients)

This picture, probably a bit provocative, is pretty interesting: whatever you try to sell, you always have to listen first…even for sex.

July 24th, 2009

Cheap chic: a marketing trick to prepare Generation Y?

by Laurent François

David Welch introduces a controversial marketing concept this morning called “cheap chic“:

What many companies are attempting to do now has worked in the past. After the crash of 1929 few people could afford a Cadillac, so General Motors (GM) created a budget model to keep its luxury sales going.

Finding new ways to target Generation Y that has to be “captured” by companies as we represent the future of consumption integrates the fact that we don’t have enough money yet to sustain some current companies positioning.

There’s a supposed translation of this cheap chic approach in the online and/or Social media strategies:

In addition to these new sites being less expensive to produce, the approach has to do with clients wanting more of an emphasis on igniting conversation and less on the rich, textured sites that have typically accompanied their campaigns. The goal, as EVB CEO Daniel Stein put it, is to “stop building $1 million microsites that attract [only] 10,000 visitors.” Too often those sites are “rich, deep and disconnected,” he said.

Less expensive to produce, maybe (not quiet sure about that…) but more demanding in terms of conversations’ and ideas to manage. Social media is a way to test new approaches and I actually think that it’s pretty dangerous to use “cheap” because it can be translated in a very wrong way in marketing departments.

What is smart, flexible and quick cannot be related to a “cheap” notion. Words matter, though.

July 21st, 2009

A "Twitter effect" against Brüno movie?

by Laurent François

Here’s what I’ve read this morning on Twitter

@versac Bientôt, tout s’expliquera enfin par “l’effet twitter”. Vivement cette époque… http://bit.ly/1fEMnZ


According to Têtu, Brüno would have be bad buzzed in the US through Twitter, leading to a decrease of its audience:

“Certains spécialistes, comme le magazine Time, n’hésitent d’ailleurs pas à parler du premier film victime de «l’effet Twitter». Le vendredi de son lancement, il a récolté 30 millions de dollars, puis 40% en moins dès le samedi, et encore davantage le dimanche… Après que des milliers d’usagers de la mini-plateforme de blogging aient posté des critiques parfois très défavorables qui ont fait traînée de poudre.”

Out of Twitter as a tool, this example demonstrates that the digital footprints that we leave online are now one of the main place to help the decision-making process.

The Twitter effect may be a mix of symptom (the consequences of the real WOM) and of syndrom (the place where debates arise)

Insumers are janusian, aren’t they?

July 7th, 2009

Circus starring Britney goes social in Bercy (Paris)

by Laurent François

Britney Spears rocked Bercy in Paris last Sunday.
At the very beginning, we could be scared because of very sarcastic press coverage like this article written by Bartholomé Girard :

“Au milieu des danseurs qui chauffent la piste, Britney Spears se montre plus que jamais absente, perdue, comme si elle ne voulait plus être là, n’y était plus tout à fait. Comme si elle n’avait plus envie d’être une poupée de cirque? Mais quoi d’autre ?”

…and also because I’m more into “underground” or rock bands…but you know, sometimes life is made of experience. As French say “il n’y a que les cons qui ne changent pas d’avis”. Anyway…

But I was really surprised by the performance and by the marketing around

  • perfect interaction between Britney history (clips, Perez Hilton issues etc.) that was broadcast on Russian dolls-like screen and the individual live performance
  • 15+ performances by very diverse artists (clowns, magicians etc.) who amplified the whole “Circus starring Britney Spears” universe
  • A great openness to other references in entertainment :“Most daring was a sequence that began with a video that showed masked interlopers borrowed from the Stanley Kubrick film “Eyes Wide Shut,” who writhed about on divans as Spears mouthed the Marilyn Manson version of the Eurythmics song “Sweet Dreams (Are Made of This”). Spears then emerged to reenact the scene wearing two versions of a white-gold gymnast’s leotard with her erogenous zones highlighted in black. She gave a lap dance to a clown; she was lifted aloft by a pair of acrobats and did some simulated heavy petting. In truth, nothing matched the raciest moments of Janet Jackson‘s last tour, but as mainstream erotica, it was effective.”
  • people were pretty encouraged to shoot or film the concert, so as the experience keeps going online thanks to user generated contents. It’s obviously one of the main asset: engaging video-conversation, engaging fans into the production of the final digital footprint of the concert. It’s probably why Brit-Brit uses Buzzmediat:
    “Britney Spears uses the site to bypass the paparazzi and deliver news straight to her fans, offering users access to her personal story like never before. The site features pictures, videos and news updates from Britney herself as well as updates by Team Britney. Fans experience exclusive content and interaction with the beloved superstar without the medias looming bias.”

More about the Tour:

  • Tour director: Jamie King[56]
  • Musical director: Simon Ellis[56]
  • Choreographers: JaQuel Knight, Tony Testa, Dreya Weber,[56] Rujuta Vaidya[57]
  • Dancers: Jose Omar, Willie Gomez, Jonathan “J-Boogie” Rabon, Chase Benz, Jia Huang, Laura Edwards, George Jones JR, Luke Broadlick, Tiana Brown, Justin de Vera, Valerie “Rais” Moise, Marc “Marvelous” Inniss, Ava “Ava Flave” Berstine, Tye Myers, JP San Pedro, Devon Jameson.
  • Managers: Larry Rudolph, Adam Leber
  • Costume design: Dsquared2, The Blonds, David Alexander, Catriona Mackechnie
  • Stylist: William Baker
  • Tour promoter: AEG Live
  • Tour Sponsor: Virgin Mobile