Manny Ramirez & Chris Brown: The Worst Corporate Partnerships? - Read On for the 10 Worst (and Best)

May 9, 2009comment

There was a pall over “Mannywood” in the bleachers at Dodgers Stadium the past couple of games, not because the mighty Manny has struck out. Rather, the mighty Manny has been thrown out - of baseball, that is, for the next 50 games for flunking a doping test. Baseball is sport but it’s also entertainment and the Dodgers will much less entertaining without him and they will feel it most in their corporate coffers. Manny wigs, “Mannywood” T shirts and all other Manny merchandise was among the most popular at the register, and since Manny arrived last year, attendance was up about 5,000 per game. Dodger fans can be pretty forgiving but it remains to be seen how unconditionally they will welcome him back after the suspension; but it obvious he will have to keep his nose, and doping tests, clean from now on.

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And then there is Chris Brown who was recently in court to plead not guilty of the chares of beating on girlfriend Rihanna. Not matter what happens in the case, it’s doubtful that he can rebuild his reputation anytime soon. What’s even more doubtful is that he will be able to secure the type of lucrative contacts as pitchman for such wholesome brands like Doublemint which faded as quickly as his reputation.

Partnerships between celebrities and brands can be a lot like a marriage: each partner brings certain strengths to the union and it when it works, the lasting effect can be much greater than the sum of the parts. And when it doesn’t work, it sometimes can end in an ugly divorce.

The best partnerships happen when both parties benefit from the relationship, regardless of the money or time invested. To achieve that, the partnership must be a natural fit and must at least appear to be genuine to the general public. To follow are the ten best partnerships that have worked, followed by the ten worst. Some of these are from my own first hand experiences (for more, check out my book the Cool Factor: Building Your Brand’s Image Through Partnership Marketing), and some are almost legendary in their successes, and some are equally legendary in their futility.

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Back to the Future movies 1) Steve McQueen and Triumph – One of the coolest of the cool, McQueen was an avid motorcycle racer and incorporated his love of the bike by featuring Triumph motorcycles in his stunt scenes in The Great Escape, where his character was aptly nicknamed “The Cooler King.” As a testament to his Eternal Cool, McQueen’s brand was offered as a tribute watch by TAG Heuer – almost thirty years after his passing!
2) James Bond and BMW – The James Bond franchise introduced a new “Bond”, Pierce Bronson in 1995’s Golden Eye, and BMW took advantage to launch a new Bond super car supplanting the Aston Martin DB5 that was the mainstay since 1964’s Goldfinger. The first US made BMW, the Z3 was also part of a promotional tie-in with select dealers who placed “007” plates on their showroom cars. A whole generation of fans grew up thinking the BMW models were the original Bond cars until Aston Martin ponied up big dollars to reenter the Bond franchise with another new Bond, David Craig in Casino Royale.

3) Michael Jordan and Nike – In 1984, Michael Jordan was already exploding on the national stage when the fledging shoe company approached him for a five year endorsement deal that was almost laughable in today’s mega dollar athlete endorsement world - $2.5 million. Jordan’s athleticism, charisma and the unique style of the Air Jordan models catapulted Nike and the Jordan’s shoes to the top of the sales heap, where they both remain today.

4) U2 and iPOD – the coolest band of the day with one of the coolest products. U2 got a powerful national campaign to launch their single “Vertigo,” and iPOD solidified a partnership with one of the top bands of all time. The ads were both iconic and visually stunning – priceless!
5) Led Zeppelin and Cadillac – After diluting the brand almost into oblivion, GM brought Cadillac back from the dead in one felt swoop: a rumored $7 million payout to secure the rights to Zeppelins’ burner “Rock N’ Roll” as the soundtrack to their 2002 Super Bowl commercial “Breakthrough.” A classic Caddy followed by the new version kicked in by John Bonham’s thunderous drum intro introducing Jimmy Page’s ferocious riff and Robert Plant’s frantic scream. Put it all together and you end up with an almost instant sales increase of 16 percent and a first place rating in advertising recall.

6) ET and Reese’s Pieces – Hershey’s was reluctant to place M&Ms in Steven Spielberg’s blockbuster ET deeming the alien too frightening for younger viewers. In steps a much less recognized brand for the pivotal scene where ET meets his new earthling friend, and Reese’s Pieces enjoys a sales increase of 50 percent in the first six weeks after the movie’s release – and is indelibly etched into movie goers minds forever.
7) Jimi Hendrix and the Fender Stratocaster guitar – When Hendrix burst upon the music scene, it was like he arrived from another planet, No one had ever looked or played guitar like him. And his coming out party at the Monterey Pop Festival in 1967 created one of Rock’s most famous images – Jimi taking one of the coolest guitars, the Fender Stratocaster, playing it, beating it, and then finally putting it out of its misery by burning, then smashing it to bits. Today, Jimi stills ranks at the top of many annual polls as the greatest guitarists that ever strapped on an axe, and it’s no surprise that the Fender Stratocaster remains the best selling electric guitar in the world.
8) Humphrey Bogart and Gordon’s Gin – This is one of the earliest documented, integrated product placements with a major actor and film. In 1951’s Oscar winning film, The African Queen, the producers needed a recognizable brand of alcohol (for authenticity’s sake and because they wanted a large amount of crates supplied for free) for Humphrey Bogart’s down and out character to drown his sorrows in. To the rescue comes Gordon’s Gin with several branded cases behind Bogie, and then an almost unsuspected thing happens – Gordon’s Gin enjoys a sales increase of 35 percent.
9) The Rolling Stones and Budweiser – In the mid 1980’s, Budweiser was the choice of the blue collar customer affectionately known as “Joe Sixpack.” They were being challenged by aggressive marketing from number two brewer, Miller. At the same time, The Rolling Stones were launching a new record and world tour and needed a major sponsor to promote both in a national forum because even the Stones weren’t sure they were still on top after being away from the public eye for some time. After a rumored $17 million payout (one mill to the band and the rest to advertising and promotions, a sponsorship payout unheard of at the time in Rock ‘N Roll) the Stones launched the tour with primetime Budweiser TV spots during the 1987 NBA Playoffs. As a result, the band reestablished it’s dominance in the concert arena, and Bud found a brand new consumer base without loosing their core customer J. Sixpack – and corporate sponsorship of arena Rock bands was forever changed.
10) David Beckham and Emporio Armani underwear – Whether David Beckham can catapult US soccer and the Los Angeles Galaxy to new heights in American soccer looks doubtful at this point, but by donning a pair of the Emporio Armani briefs in a sexy ad, the entire Armani range was boosted 30 percent. Some stores in London even showed an astounding sales increase of between 100 and 150 percent for the brand. The ad didn’t hurt Beckham’s sexy image which could eventually help him when he makes the leap to an acting career.

The Bottom Ten Worst

1) Madonna and Pepsi – One of the all-time worst partnership launches. In 1989, Madonna was at the top of her game and Pepsi needed to expand its market beyond just the “Pepsi Generation.” But Madonna’s reputation was for pushing the boundaries, which certainly added to her success, can also be risky when you are banking on a long term partnership and a payout of $5 million for usage of the song, as Pepsi found out with the release of Madonna’s video and commercial for “Like a Prayer.” The commercial was innocent enough but dare I say it, all hell broke loose when the video was released featuring Madonna making love to a black man in front of a burning cross, among other images deemed sacrilegious by the religious right. After hundreds of thousands of boycotts against Pepsi, they finally dropped the campaign. By the way, the original “innocent” commercial was only broadcast once.
2) The Beatles and Nike – The Fab Four would never allow their art to be compromised by licensing their music to commercials. But in 1987, Nike licensed the original recording from Capitol Records and Michael Jackson, who owned the publishing rights, for $250,000.00. Fans were outraged and even Paul McCartney jumped into the fray by adding, “Songs like Revolution don’t mean a pair of sneakers, they mean Revolution.” After lawsuits and more outrage by the very fans that the song that Nike intended the commercial to appeal to, the campaign was dropped. However, that was then and currently there are several Beatle songs, and ex-Beatle member’s songs, appearing in commercials in for major brands like JC Penny, Target and Fidelity.

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3) Tiger Woods and Buick – the two have partnered since 1999, and deal has no doubt been very lucrative for Woods, but from a consumer’s point of view – why would one of the most famous and richest athletes in the world drive a Buick? Nuff said. (Dis)Honorable mention – Sarah Jessica Parker as spokesperson for the GAP.
4) Celine Dion and Chrysler – This is what I call the Icarus Syndrome – getting into bed with a celebrity that can possibly overpower and possibly flame out a brand. For a rumored $13 - $14 million dollar payout, Chrysler ended up producing a very short video, or a very long commercial, for Dion’s new record. Furthermore, most people couldn’t even recall the brand of car she was driving.

5) Cybill Sheperd and The Beef Industry Council – When the Beef Industry Council decided to launch a $30 million campaign in 1986 to, well, beef up sales, they enlisted Moonlighting star Cybill Shepherd as one of their spokespersons. That was until she confessed to the press that she was a vegetarian. Ooops – can I say that the BIC was left with egg on their face?
6) Paulina Rubio and Mercedes – As part of a potential multi- million dollar promotional and tour sponsorship with Mercedes, Latin firecracker Paulina Rubio signed on for an music performance at the 2003 Los Angeles Auto Show to promote the Mercedes C-Class car. The problem was that Rubio pulled a no show, claiming illness. Later it was discovered that she was partying on New Years’ Eve, and there was even rumors of an affair with a married man. Her first class plane tickets and hotel rooms didn’t go to waste as her friends utilized them for a free vacation. Free, that is, until the agency promoting the event sued for damages to reclaim the lost expenses and fees. They won and Rubio lost a major sponsor that could have taken her career to new heights.
7) Orson Welles and Paul Masson – The great actor/director began doing commercials in the twilight of his career and one of his longest associations was with Paul Masson. Unfortunately sometimes Welles took the endorsement a little too much to heart by enjoying the wine “well before its time.” The commercials have long since disappeared but the hilarious outtakes live on as a mainstay on YouTube.

8) Ed McMahon - Not long after the legendary Carson sidekick signed on to appear as a rapper in a series of freecreditreport.com commercials, he is forced to fight foreclosure when he falls $644,000.00 behind on the payments on his Beverly Hills mansion. Maybe he should have followed in the footsteps of Orson Welles by embracing the product he was trying to pitch just a little bit more.
9) The cute creatures in Madagascar and McDonalds - DreamWorks Animation and McDonald’s teamed up to promote the theatrical release of MADAGASCAR: ESCAPE 2 AFRICA by encouraging kids to take “One Minute to Move It.” The global promotional tie-in features TV spots, store signs and online content that encourage kids to spend at least one minute a day doing something active or creative. That whole one minute each day will no doubt go a long way in helping the kids to work off the sizable amount of calories from the fat content in Happy Meals.
10) Donald Trump and VISA - I’m not sure about wisdom of VISA when wanting to encourage most consumers to up their credit card purchases in these tough economic times, they partner with a celebrated pitchman who’s most known for the catchphrase “You’re Fired!”

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How To Purchase Your First Guitar in Five Easy Steps

May 7, 20091 comment

My most recent blog focused on the vintage guitar market which obviously attracts professional musicians and collectors who really know their stuff, but what about those with little or no experience in guitar buying? Obviously they wouldn’t be looking to compete with the experts in the vintage guitar market. Probably the number one question I am asked when people find out I work for Fender is, “How do I find the right guitar for myself (or my son or daughter) if I have never purchased a guitar before?” The number two question would be “I don’t want to be a Rock Star, I just want to try guitar for my own enjoyment so where should I start?” Another potentially intimidating factor for most people who have never purchased a guitar is they probably have no idea what a guitar costs. If you are any of these, I’m here to make that choice a little easier by giving you a few simple points about making that purchase. To do this, I will have to remove myself from Fender so this won’t seem like a corporate sales pitch. No, I’m not leaving the company, just taking a short break for the length of this blog.

The first thing you should know is that a guitar can cost anywhere from a street price of a couple hundred dollars all the way up to the thousands. The reason for this is that major brands have to offer instruments in every price range, for every level of proficiency; otherwise their competitors could push their way into a niche in the market that’s left unprotected.

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Step 1: Stick with a recognized brand name. That would go for any product you want to purchase because you want to make sure that the brand you choose has a strong company to back it up. That’s most important for quality, service and warranty. If you are not familiar with the major brands, simply take a look at the name on the headstock (that’s at the top of the guitar where the tuning keys are) of your favorite artist. If it’s good enough for them, it should be good enough for you.

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Step 2: Buy from a reputable dealer: This is for the same reasons (quality, service, etc.) as above. Reputable dealers can be major chains, or small local “mom & pop” operations. If they are carrying one of the recognized brands you are interested in, they should be a sound choice. Many dealers will have “authorized (brand name here) dealer” signs so that you know they have a formal relationship with the major brands.

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Step 3:

Start out at the low end: No matter how much you have to spend, if you are not sure how long you are going to pursue your guitar playing dreams, it’s best not to invest a lot of money. There is nothing wrong with an entry level instrument from a recognized brand because of modern technology, quality guitars are actually cheaper in today’s dollars than they were 20 or so years ago. I usually recommend an acoustic, meaning a hollow body or “folk” style guitar that does not need to be plugged into an electric amplifier to be heard. This is also a great instrument for guitarists who are quite happy to play for their own enjoyment, or just want to sit around the campfire strumming and singing with friends (I was a pro musician for years and this is still the most enjoyable). If your heart is set on an electric and/or you have aspirations of playing in a band, then you should choose to go the electric route. The challenge is that you will also need an amp, and a guitar cord that connects from the guitar to the amp. But that is not a problem because all the reputable brands (including Fender - ooops, I have to take off that Fender hat again) offer a pack that has everything you need in one box for around $300.00. That makes it a perfect gift as well for that aspiring guitarist in your family and that’s why you can find these in music stores and mass merchants like Target and Sam’s Club alike.

Step 4: Stick with the brand you want: This is important because as trustworthy as dealers are, they also have to move overstock products, or they make not have the brand you want so they may try to “bait & switch” you into another brand by offering deeper discounts. Sometimes a salesman will say, “The brand you want costs so much more because you are paying for the name. This guitar is made in the same factory but it’s less money because you’re not paying extra for the name.” Beware of this pitch because not only are you taking a chance on the quality, but recognized brands retain their value so if you do want to trade up to a more professional guitar in the future, you will have more money to put towards the new one. The “bait & switch” is pretty rare but I wanted you to know this just in case because old adage “Let the Buyer Beware” still applies to any purchase you make.

Step 5: Enjoy your guitar! There is nothing more rewarding than learning to play that first song all the way through which shouldn’t take more than four to six weeks of dedicated practice. Since most Rock and Country songs, even the best ones, are written with only a handful of chords, by mastering these you will be well on your way being able to adequately strum you way through your favorite songs. If you determine you want to get serious about your playing, I suggest you take lessons either from a dealer, or private teacher. That’s the way I started and I actually became a music teacher for a short period after I graduated college. Once you dedicate yourself, trust me, no matter how far you want to go, the journey will be just as much fun.

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The New Market for Vintage Guitars - The Ones That Got Away

May 3, 2009comment

Over the weekend I read a very interesting article by Michael Albo in the Los Angeles Times regarding the vintage guitar market. Apparently the down economy has prodded some one-time investors in collectable guitars to cash out. This is good news for music stores that sell vintage guitars like one of the retailers featured in the article, Norm’s Rare Guitars in Tarzana, CA. (WARNING : SHAMELESS PLUG: a photo accompanying the article shows a teenager playing a classic Les Paul with the caption stating that “the appeal and cool factor of vintage instruments” isn’t lost on the young guitarist. The reference to my book is purely coincidental).

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I have worked with Norm Harris over the years, mainly on his fund-raising concerts to benefit the Midnight Mission, one of LA’s oldest homeless shelters. The company I work for, Fender Musical Instruments Corp., has been a strong supporter of Norm’s events which have featured well known artists such as Bon Jovi’s Richie Sambora, REO, Los Lobos, John Mayall and many more. One even featured Tom Petty and his original band, Mudcrutch, who donated there first concert after they reformed after three decades to Norm’s fund-raiser. Norm has these relationships that he can call on for his charity because he is a trusted friend and the go-to guy for many artists who want to get the best quality vintage instrument, sometimes regardless of price.

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For the boomer generation, it goes like this: we started out in bands in high school and if we were lucky, borrowed or saved up our money to purchase our dream guitar, most likely the ones that our heroes played. They would have been Fender Strats or Teles, Gibson ES335’s, SGs or Les Pauls, or maybe even a Martin acoustic that would have cost in the hundreds of dollars (lot a money back then). Then when rent was due, most of us at one time or the other sold those pieces, which are now looked at as the “Stradivarius” of Rock ‘N Roll instruments that collectors desire most and in the process of acquiring, drove prices up to the tens of thousands of dollars. If an artist eventfully became famous, they searched for models similar to the ones that they let go of. Most of the time, the boomer came into money through a successful career and just wanted to purchase a certain model for nostalgic purposes (a similar thing happened in the vintage car industry).

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In my world, my folks bought me ‘65 Fender Jaguar just like the ones I saw the Beach Boys play. It cost them $390.00 which was probably at least a week’s salary for my dad. I loved that guitar and it actually accompanied me as I built my career in music, but when rent came due, broken heartedly, I had to let it go. But I didn’t sell every one of my guitars, or basses (I switched to bass when I realized there were hundreds of guitar players better than me, but a strong bassist always had work). In my entertainment room at home I still have my original ‘65 Fender dot neck Jazz Bass, ‘66 Gretsch Tennessean, ‘64 Hofner Beatle Bass, and even my very first guitar, a Kay hollow body that my mom bought off one of her neighbor friends for a whole 5 bucks. I guess I held onto these partly from the remorse of losing the Jaguar, but also because of what those instruments personally meant to me. Artists talk about the “soul” of an instrument, and some are downright superstitious. I remember an interview with Niles Rodgers where he discussed putting down his favorite Stratocaster guitar in favor of some newer guitars. He had so many hits with that original guitar, and he didn’t have another hit with the new guitars, so he went back to the Start - and you guessed it - another hit! Soul in an instrument can mean the tone as the wood ages and the pickups begin to lose their magnetism so that a weird transformation takes place that makes them actually sound better. I remember when the late Delaney Bramlett brought a 50’s Strat for me to look at that had once belonged to Duane Allman. Some of the master builders in our Custom Shop wanted to check it out, and at first glance it didn’t seem to be all that spectacular considering its pedigree. But once they plugged it in, they realized its “soul” contained one of the sweetest tones anyone there had ever heard.

I guess that’s the other part of the allure of vintage guitars. Who did it belong to? Were they famous? Did the guitar appear on a famous record, or in a legendary concert? Many guitars are well documented (Eric Clapton’s Blackie sold for just under a million dollars which “slowhand” donated to charity), but just the same, many a guitar’s historical significant remains locked inside, maybe never to be revealed with the only hint being the soul in that magic tone.

Happy hunting!

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It’s Not Just the Economy (Stupid)

April 28, 2009comment

I am paraphrasing the line given to presidential candidate Bill Clinton by his campaign’s lead strategist, James Carvel. This phrase turned around Clinton’s floundering campaign by focusing on one line that the public could identify with and, of course, the rest became history. My reworking is not aimed at the general public, but at the marketers who continue to use the economy as an excuse why their company’s sales are down. That may work for sales departments, but not for marketing departments. Why? Because as soon as sales lag (for any reason I might ad), that’s when the true marketing professionals aggressively look for other opportunities. The telltale sign that marketing is not working is when a company’s sales decrease mirrors the industry as a whole. For instance, the beleaguered General Motors continued to promote SUVs long after the public thirst for them had dried up, then they were blindsided by the implosion of the economy. A tsunami of economic woes for GM, but one only has to look at Ford to see that their drop is not as precipitous as the car industry in general. A major reason I believe, is that Ford aggressively promoted their “lifestyle” through their Mustang model which has always created a “halo” effect for all their emblems.

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The real point of this is that marketers (myself included) have to realize that you can only use the economy as an excuse for “same old, same old” marketing for so long before they find themselves out of a job, or worse yet, their company out of business. This is the time for looking into non-traditional means for marketing, and when I say non-traditional, I am including all new types of media that give marketers much more resources to promote their products than ever before. For instance, a recent story that dominated the media was when actor/celebrity Ashton Kutcher raced CNN to see who would be the first to attract 1 million followers to their Twitter account. Ashton edged out CNN, and then it was reported that CNN hadn’t actually owned their own account until a few days earlier. Previously, it was created and maintained by British web developer James Cox. CNN quickly brought him to Atlanta to acquire it and then hired Cox to run it. A similar thing happened to Coke with its Facebook page that had acquired a million fans. The problem was that it wasn’t run by Coca-Cola – it was actually created by two Los Angeles entertainment people. Coke took a page from CNN and hired the duo to run the page which now has in excess of 3 million fans. Just a few months ago, bloggers were challenging Coke why they were not on Twitter so you see; even the largest companies have to demand that their marketing teams stay current with the times when it comes to new marketing ops.

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House of 1000 Corpses movies I find it hard to believe that CNN and Coca-Cola were not aware of Twitter and Facebook’s power, so it’s just possible that CNN and Coke knew about the fan sites and let them test the waters and do the heavy lifting before committing their resources. What really matters is that they are now experiencing what new media can do for their brands. A whole book could be written on this subject, and I have blogged in the past about David Meerman Scott’s “World Wide Rave” which makes a indisputable case for embracing the new media opportunities essential for promoting brands in this brave new world of marketing. To all the marketers that still want to use the economy as an excuse, I can only say, you better sharpen that resume’.

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The Unsung Heroes Behind The Singers

March 31, 20091 comment

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I was trying to catch up on my newspaper reading this weekend when I came across the obituary for Motown drummer Uriel Jones. When you are of the boomer generation like me, it’s not uncommon to read about the passing of someone in the music business that you grew up listening to. But like so many other children of the sixties, we would have not recognized this name if it weren’t for a beautiful tribute film that came out in 2002 called Standing in the Shadows of Motown. The documentary, a riff on the hit song by the Four Tops, “Standing in the Shadows of Love,” told the story of the Funk Brothers, the studio (and sometimes live) backing band for the legendary artists that recorded for Motown. According to the film, The Funk Bros. played on more number one records than the Beatles, the Beach Boys, the Rolling Stones and Elvis Presley - combined!

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Yes, the Temptations were great, but the hook to the song, the memorable signature riff Da –Da-Da-Da-Da-Da– was composed on the spot by guitarist Robert White; love the Four Tops but that amazing dancing bass line in “I’ll Be There.” came from the limitless creativity and talent of one of the most influential bassists of all time - James Jamerson; and that hypnotic drum beat to Marvin Gaye’s classic “Heard it Through the Grapevine” was none other than Uriel Jones (rumored to be a beat he contrived while backing up a stripper at his after hour gig). The Funks became so influential to famous musicians everywhere -case in point, according to Beatles’ recording engineer, Geoff Emerick, in his book Here, There and Everywhere, Paul McCartney demanded that he get that “big Motown sound” that he wanted for his bass on “Paperback Writer.”

I had first hand experience working with the remaining Funk Brothers on Standing in the Shadows. I first received a call from the author of the book, Alan Slutzy, asking Fender to lend amps for a special concert to be filmed with contemporary artists performing the Motown hits, backed by the Funks. Later, I got to work on promotions for the movie (I supplied the “Jamerson “Funk Machine” P Bass for the poster art) which culminated in a concert after the film’s Los Angeles premiere. I was also a part of the wonderful honor when the Funk Brothers were inducted into the “Hollywood Rockwalk” outside the Guitar Center on Sunset Blvd.

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The Funk Brothers were a inspiration to the everyman who puts in a solid working day, everyday, seemingly unnoticed, but whose efforts are an integral part of the success of a business, or famous musician. It’s no wonder that Standing in the Shadows is still one of the most watched videos on tour busses coming out of Nashville, taking those extremely talented session musicians on the road as they back Country Music’s biggest stars.

Uriel Jones, you are gone, but definitely not forgotten.

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Which Generation Has the Big Bucks and What's the Best Way to Get Your Message Across to Them?

March 24, 20091 comment

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I came across what I consider to be a very surprising survey. According to a recent study from The Media Audit, 6.2 million adults (26%) between 18 and 34 are making $100K or more as compared to just 19% of six-figure households for adults over 54. The breakdown is 60% men to 40% women, with the latter being better educated and increasingly relevant consumers (Note: the study was based on a survey of 23 million adults in 87 metropolitan markets).

If you are a marketer, how can you reach this affluent new segment of the population? First of all, they are too savvy to be pulled in by traditional advertising, and they watch far less TV than previous generations. According to best selling author, David Meerman Scott

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, companies think the Internet may be the best way. But as Scott warns us, “For decades, companies have created web content as lead bait. But the goal should be to get the word out about your organization, not to misuse the Internet for the sake of an outdated technique.” In other words, the old “bait & switch” approach to grabbing potential consumers just won’t work, and may be deemed offensive to the aforementioned savvy young adults.

We know at least three things that this generation does do - go to concerts and special events, go to movies, and spend considerable amount of time on social networking on the internet.

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People go to concerts and special events for he entertainment value, but equally important, to participate in a shared entertainment experience. For a marketer to to put their support in in these types of events casts their brand as passionate about the same things. According to Robert Silverman, founder of SFX Concert (who sold his company to Clear Channel in 2000 for $4.4 billion), “If you go to see (your favorite artist) you’ve chosen to do it. You’re excited. You’re not doing this passively - like watching TV at home. You’re spending money, and you’re very receptive to hear…messages.” From major stadium events, down to small local charity events, there are countless sponsorship opportunities to fit any size marketing budget.

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18 - 34 year olds have made hits out of major studio releases like the Spiderman franchise and Iron Man, to the small independent releases like Juno and offbeat classics like Superbad. Product placement (integrating your brand into movies and TV shows for exposure) is one of the most powerful ways to place a brand in front of this dedicated audience. Product placement is not new: since the dawn of movies, brands have been placed into scenes to provide continuity and audience identification for purposes of credibility. However, the 1990’s to the present have shown a major increase in the number of paid placements which are now considered an important element in production budgets. Some estimates are that placement fees will exceed 5 billion dollars this year alone! The good news is that placements fees can range from in-kind product trade outs to several million dollars, and everything in-between. Whatever a marketing budget will allow, the rule of thumb is to make sure your brand is integrated in the most organic way that doesn’t interrupt the flow of action. A decade ago, I remember seeing a brand like Budweiser being placed in a bar scene in a movie where you would clearly see the label as the star took a swig, with a Bud neon sign prominent in the background. Then the star walks out of the bar and you see a Budweiser truck go slowly go by. That doesn’t cut it today as once again, young adults are too knowledgeable to fall for this.

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The beauty of the Internet is that it is a great equalizer - you can’t tell if a company is large or small because everyone has the same tools at their disposal. In fact, some major brands purposely make their presentations look amateurish because they think if their too slick, they will turn off potential consumers - and rightfully so. However, once again, if a potential consumer feels tricked by this stealth marketing, chances are the brand will lose them forever. In the my book The Cool Factor, I wrote that “We are no longer an information society, we are a recommendation society.” In other words, if you are singing your own praises, no one listens, but if someone else is talking about you in their social network community, well that the strongest endorsement you can get.

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The Man Who Brought The Beatles to Capitol Records

March 15, 20091 comment

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We in the music business have witnessed the slow decline of the legendary A & R guys who’s job was to discover new talent and sign them to their respective labels. These sometime renegades were respected for having great “ears” to be able to hear what new sounds that were on the horizon not by following trends, but by creating them. These visionaries all had one thing in common and that was a passion for music in general, not just what they loved and signed. Even though we still have the greats like Clive Davis Waltz with Bashir download and Jimmy lovine still in the business, most have been replaced by lawyers and accountant teams that sign artists based on supporting the bottom line. All to often, this creates disposable music to take advantage of trends instead of building long term careers .

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This past Friday, we lost another of the legends with the passing of Alan W. Livingston, who has a long and storied career and who signed the Beach Boys, the Band and Steve Miller during his tenure at Capitol Records. As a testament to the scope of his talents, he also created Bozo the Clown. But he was probably best known for signing the Beatles to Capitol for their US distribution. Believe it or not, this was a decision that went against the consensus at the time. In the early 1960’s, guitar bands were thought to be a passing fad. Before they were signed by George Martin at EMI in the UK, the Beatles had been turned down for that very reason by Dick Rowe, A & R for Decca Records (to be fair, Rowe made amends by signing another British act recommend to him by George Harrison that has a pretty good run - the Rolling Stones). EMI was Capitol Records’ major stockholder so the label had the right of first refusal for US distribution of the band’s recordings which were already causing a sales sensation in the UK. Livingston had asked David Dexter, whose job it was to screen all the British records, what he though of these four Liverpool lads. “Forget it Allan, Their a bunch of long-haired kids. They’re nothing.” Bands and artists from England weren’t making any dents in the US charts at the time so there was nothing to suggest that this band would be any different. It also didn’t help that when Dick Clark did a favor for one of his promotion buddies at Capitol by playing “Love Me Do” on his American Bandstand music TV show. In Clark’s autobiography he said not only did the TV audience give it a low rating because you “couldn’t dance to it” (the rating of new records by the teenage dancers was a staple of the show), but Clark recalls that the audience giggled when he showed them a picture of the mop topped band. That was the summer of ‘63 and after the Beatles appeared on the Ed Sullivan Show the following February, the Beatles dominated the US charts and the boys on the show jumped on the Beatlemania bandwagon by copying their shaggy hairstyles and distinctive attire. He also remembers his friend at Capitol after watching the broadcast remarking that “it looks like we got a real stiff on our hands.”

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Capitol’s initial rejection of the Beatles allowed independents like Swan, Vee Jay and the latter’s subsidiary, Tollie, to release the early Beatle hits in the US market. It took a personal call from the band’s manager, Brian Epstein, begging him to at least give them another chance and listen to the Beatles’ records himself instead of accepting the opinion of others at the label. Livingston did, and in spite of even his wife thinking it was a mistake (”I want to hold your hand? Are you kidding?” she remarked after hearing one of the tracks) signed the Beatles in the US, and the rest, of course, is history.

Bless you Mr. Livingston.

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Tattooed Barbie at 50: A Sign O' the Times

March 10, 2009comment

Ocean’s Eleven dvdrip There are so many feature stories and blogs spotlighting Barbie’s 50h birthday, that I thought I should weigh in. But before we discuss that, I want to talk about another milestone from Mattel that didn’t get as much press. Fisher Price, a division of Mattel, Inc., has stopped making the popular View-Master scenic discs. Sales of View-Master

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, which just celebrated its 70th birthday, have been is steady decline since its peak sales period in the 1960s and 1970s. It was a popular children’s toy resembling a red pair of plastic binoculars which, by the push of a side button, rotated a disc that contained more than a dozen 3-D images. The scenic discs featured everything from popular tourist attractions like Yellowstone, the Grand Canyon and even Elvis Presley’s “jungle room” at Graceland, to animated characters like Shrek and Dora the Explorer. The good news for VM fans is that those character discs will still be manufactured, but according to a spokesperson from Mattel, the scenic discs are “not a good fit.” Translating “corporate-speak,” kids used to pass the time when riding in the backseat of their parents cars by viewing their collections of scenic discs - sort of a vacation within a vacation. Today, kids are much more interested in watching DVDs on the backseat screens.

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Back to Barbie. With much less heralding than the 50th birthday, Mattel just introduced Totally Stylin’ Barbie, a doll that includes a set of 40 tattoo stickers so a young girl can create her own version of LA Ink. Some parents were appalled that Mattel would stoop to such a level to re-brand “wholesome” Barbie to a new generation that grew up on Bratz dolls. The truth is that with sales down globally 9%, Mattel was forced to change with the times or eventually go the way of the View-Master scenic disc. We know that some marketers are willing to do almost anything to reach a younger demographic. Remember Joe Camel? So in reality, a tattooed Barbie is nowhere near as bad as trying to get kids hooked on cigarettes at a young age (unless seven year old girls are begging for tattoos this holiday season). But we should put this in perspective. Barbie wasn’t all that wholesome when we take a look at her original inspiration: co-founder Ruth Handler based her on a sexy German doll, or some claim a German sex doll, named Bild Lilly, that Handler saw just after the war. Either way, the resemblance to the original Barbie version is striking, and in my opinion, a lot more threatening that Totally Stylin’ Barbie. And that was 60 plus years ago!

The thing is, no matter how clever we marketers think we are, we can’t make people buy everything we want them to buy. If parents don’t want their daughter playing with “tat” Barbie, they should simply refuse to buy it. Nostalgia aside, if the new Barbie is as successful as Mattel claims, and nobody is buying the View-master scenic discs any longer, then it appears as if the public has already voted - with their wallets.

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Del's Interview With Sales Coach Now!

March 6, 2009comment

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Check out Del’s Interview with Sales Coach Now.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

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Bluesland

March 3, 2009comment
.!.

I had the pleasure of appearing on KCSB-FM in Santa Barbara, CA on “Bluesland”

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, hosted by Leo Schumaker. Leo had taken the time to read my book and so his questions were well thought out and thorough. However, more than an interview, it seemed like two new “old” friends sitting down to talk about each others favorite music. Obviously, with a name like “Bluesland”, you know the show would focus on Blues. Me being from one of the Blues capitols of the world, Chicago, I was more than happy to discuss my early Blues idols and influences.

Being a suburban kid growing up in Chicago, even though the greatest Blues masters on lived in my city, I learned about the Blues second hand from groups like Cream, The Yardbirds, Savoy Brown and The Rolling Stones.

There was nothing wrong with that because even the legendary Bluesman, Willie Dixon, when asked if he minded all these British bands taking his Blues classics overseas and then giving them back to America in their own way, replied that he planted the seeds, and whatever “those boys” do with them to make them grow was fine by him. I finally learned about the originators when my band in high school was asked to open for one of the greatest ever - Muddy Waters. After meeting and seeing him live, I wanted to seek out as many of the original Chess recordings I could find, and then beyond that to their influences, which eventually lead me all the way back to Robert Johnson.

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I told Leo that I met my wife Bettina when she invited the company I work for, Fender Musical Instruments Corp., to be the title sponsor of the first ever Catalina Island Blues Festival (truth be told that she lured me over because she worked for the Wrigley Family, who once owned my beloved Chicago Cubs, telling me that Catalina had a museum dedicated to team when they played spring training on the island way before my time). For each of the five years we participated, the festival was a virtual sell-out - no small feat when you consider you have to take a boat 26 miles across the ocean to get there. I once asked her why she picked Blues - did she do research on what would be the most successful genre? She simply replied “I like Blues.” That was a good enough answer for me. I also thought to myself, “You’d better marry that girl.”

Leo and I discussed why people that love Blues, in spite of its sometimes “someone done somebody wrong” subject matter, actually find the music uplifting in an almost spiritual way. I remember saying its not like misery loves company, but we agreed that it’s more of a shared human experience that anyone can relate do, no matter where you come from. Even without regular radio airplay, except for great shows like Leos’ of course, Blues will always endure. I believe the fact that it’s not a musical “flavor of the month” almost guarantees its survival from generation to generation.

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A few days after the show, while hiking the lovely Torrey Pines State Park, I was telling one of my friends and mentors, Ken Druck, about Leo’s show. When I mentioned the the shared experience of Blues wasn’t exactley “misery loves company”, he told me about a saying he came up with for his wonderful Jenna Druck Foundation that deals with bereavement for families who lost loved ones - “It’s not misery loves company”, he told me, “It’s simply that hope loves company.”

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Listen to the Podcast Here.

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