LinkedIn in February made it easier for users to follow companies on the professional networking site through a button that businesses can embed on their Web sites. Now it’s helping companies target and track their followers with a new set of software tools. LinkedIn just introduced a service that allows businesses to tailor content sent to followers according to various criteria, including industry, seniority, job function, company size, non-company employees and geography. Those are among the same targeting categories available to third-party advertisers on LinkedIn through its self-serve ad solution. Companies will also have direct access to an analytics dashboard showing follower engagement metrics such as likes, shares, comments, and the proportion of those interacting with targeted content. The dashboard will also provide followers’ demographic data. The new Targeted Updates and Follower Statistics are rolling out initially with a small group of companies including AT&T, Dell, Microsoft, and Samsung Mobile before being offered more widely in the coming months. LinkedIn says it has more than 2 million companies in its network. The new services are free to members with a LinkedIn company page and are clearly aimed at helping it compete with Facebook and Twitter as a social marketing platform for businesses. The company declined to say how many of its 150 million users worldwide are following companies on the site. Based on a user survey, it only says 70% “follow or would follow” companies on LinkedIn. It also released data suggesting that followers are more active than its users in general. For example, followers are twice as connected as the average LinkedIn member and have joined twice the number of LinkedIn groups. Almost half (49%) say they are more likely to purchase products or services from a company that’s more engaged with its followers. About the same proportion (47%) say LinkedIn is a more appropriate social environment for getting company news and updates than other social sites.
Mission: Create a campaign that authentically telegraphs “hip, cutting-edge and upscale” for your wine brand. Solution: Lure trendsetters to an exhibition of a famous photographer’s work, then use them as the models for a during-event campaign shoot. That was the scenario orchestrated by Kim Crawford Wines on April 5 at New York City’s Cedar Lake Studios. Notables from the fashion and media worlds were invited to an evening event showcasing the work of acclaimed fashion photographer Miles Aldridge. Upon arrival, they learned that the event was more than an exhibition: The willing were pulled onto elaborate sets to be shot by Aldridge as part of Kim Crawford’s new advertising campaign. Dubbed “Undo the Ordinary,” the campaign seeks to convey the New Zealand wine label’s “history of innovative thinking, pushing boundaries and challenging routine” by combining “whimsical” imagery, vibrant colors and high-fashion photography, said the brand’s marketing director, Ingrid Bekkers. Aldridge, she added, was the ideal choice because his photography “explores new frontiers, challenges conventions and excites the senses.” In a release, Aldridge said that he was intrigued by the challenge of shooting a campaign in the midst of a live event, and that he designed “playful” sets and scenarios that encouraged guests to be spontaneous, in order to capture “surprising and original” campaign imagery. Each of three interactive sets portrayed an unexpected way to enjoy the wines. In one, brightly colored butterflies flew across an all-white lounge carrying bottles of wine to guests listening to music provided by a “couture-clad” pianist. In another, a character “magically” emerged from a painting in a fuchsia room to pour glasses of Sauvignon Blanc for a model swaying on a swing, as the cocktail crowd looked on. A third set had guests mingling at a dinner party in a modern kitchen with gold counters, eating gold-encrusted food as bottles of the wine chilled nearby in a tiger ice sculpture. The campaign, launching this summer, will span online, print, outdoor and social media. The print ads, to appear in magazines including Elle, Elle Décor, Harper’s Bazaar, Details, Dwell and Wine Enthusiast, are being created by Kim Crawford’s agency, 180LA. Digital agency Organic, Inc. is working with the brand on a socially driven campaign employing Kim Crawford’s Web site, Facebook and Twitter pages. These elements will offer participants ways to “break out of routines” and share new perspectives on life, according to the brand. Fans will have to wait until June to see which event guests actually show up in the ads, but according to HauteLiving.com, attendees included actress Nora Zehetner (“Mad Men”), reality star/former model Kelly Killoren Bensimon, TV fashion show host Alexa Chung, Paper magazine editorial director Mickey Boardman, and various au courant fashion models. Founded in the late 1990’s by husband-and-wife partners Kim and Erica Crawford, Kim Crawford Wines is a leading producer of luxury-priced Sauvignon Blanc. It was acquired by Vincor Canada in 2003. Vincor was in turn acquired by Constellation Brands in 2006.
TV network tag lines are not brands -- and that's a big deal for Turner Broadcasting entertainment networks in regard to its advertising/marketing partners. Speaking at MediaPost's Outfront event, Steve Koonin, president of Turner Entertainment Networks, says: "There is a giant difference between a tagline and a brand. One of the acid tests we do for a marketer is -- can they tie with us and not with a specific program?" Koonin feels that any association with the network for marketers should be on a 24-hour basis. "By building a genre-based network, we are able to build opportunities." In that mode, he adds: "We don't do billboards for advertisers, [such as those that say] 'brought to you by.' " TNT's "We Know Drama" and TBS's "Very Funny" have been two longtime taglines for their respective networks, and they are needed, says Koonin. He says networks like History or Food describe themselves. But for Turner's networks, it is "alphabet soup." Unlike many other cable networks, Turner networks program 24 hours a day. "TNT and TBS don't have informercials; you want to be able to promote to people in the late evening and early day [and other dayparts]." Social media is also crucial to building a fan base: "We use to call it word of mouth." But as far as gaining huge swaths of revenues, Koonin takes a longer view. "The profitability comes from [growing] audiences." TNT, which in the midst of a growth spurt when it comes to program development, will see the end of its first big successful original show "The Closer." "It will have 106 episodes at the end of its run -- the most scripted episodes in the history of cable." Koonin says "The Closer" was the first big cable scripted show to break through the rankings of the broadcast network -- and that drew notice for advertisers. TBS is looking to ramp up its comedy efforts -- particularly its original programs -- even as reruns of "Big Bang Theory" have boosted the viewership of the networks. "Reruns are not sexy positioning," he says. When it comes to late-night comedy on TBS, Koonin says talk show "Conan" continues to do well, justifying the show's recent renewal. "It is very, very profitable," he says -- and now a solid No. 2 in ratings behind Comedy Central's "The Daily Show with Jon Stewart" and "The Colbert Report." Koonin says the "Conan" performance is good, considering how long the Comedy Central shows have been on the air. "Comedy is incredibly subjective," says Koonin. Soon, Conan O'Brien's production company will be producing shows for the network. O'Brien brings in younger, more valuable viewers, he adds. The average age for "Conan" is 35, which Koonin says is much younger than other late-night shows hosted by David Letterman, Jay Leno or Jimmy Kimmel. Overall, Koonin believes cable should remain somewhat of a rebel in the TV business: "We believe we are counter punchers."
LinkedIn in February made it easier for users to follow companies on the professional networking site through a button that businesses can embed on their Web sites. Now it’s helping companies target and track their followers with a new set of software tools. LinkedIn just introduced a service that allows businesses to tailor content sent to followers according to various criteria, including industry, seniority, job function, company size, non-company employees and geography. Those are among the same targeting categories available to third-party advertisers on LinkedIn through its self-serve ad solution. Companies will also have direct access to an analytics dashboard showing follower engagement metrics such as likes, shares, comments, and the proportion of those interacting with targeted content. The dashboard will also provide followers’ demographic data. The new Targeted Updates and Follower Statistics are rolling out initially with a small group of companies including AT&T, Dell, Microsoft, and Samsung Mobile before being offered more widely in the coming months. LinkedIn says it has more than 2 million companies in its network. The new services are free to members with a LinkedIn company page and are clearly aimed at helping it compete with Facebook and Twitter as a social marketing platform for businesses. The company declined to say how many of its 150 million users worldwide are following companies on the site. Based on a user survey, it only says 70% “follow or would follow” companies on LinkedIn. It also released data suggesting that followers are more active than its users in general. For example, followers are twice as connected as the average LinkedIn member and have joined twice the number of LinkedIn groups. Almost half (49%) say they are more likely to purchase products or services from a company that’s more engaged with its followers. About the same proportion (47%) say LinkedIn is a more appropriate social environment for getting company news and updates than other social sites.
Mission: Create a campaign that authentically telegraphs “hip, cutting-edge and upscale” for your wine brand. Solution: Lure trendsetters to an exhibition of a famous photographer’s work, then use them as the models for a during-event campaign shoot. That was the scenario orchestrated by Kim Crawford Wines on April 5 at New York City’s Cedar Lake Studios. Notables from the fashion and media worlds were invited to an evening event showcasing the work of acclaimed fashion photographer Miles Aldridge. Upon arrival, they learned that the event was more than an exhibition: The willing were pulled onto elaborate sets to be shot by Aldridge as part of Kim Crawford’s new advertising campaign. Dubbed “Undo the Ordinary,” the campaign seeks to convey the New Zealand wine label’s “history of innovative thinking, pushing boundaries and challenging routine” by combining “whimsical” imagery, vibrant colors and high-fashion photography, said the brand’s marketing director, Ingrid Bekkers. Aldridge, she added, was the ideal choice because his photography “explores new frontiers, challenges conventions and excites the senses.” In a release, Aldridge said that he was intrigued by the challenge of shooting a campaign in the midst of a live event, and that he designed “playful” sets and scenarios that encouraged guests to be spontaneous, in order to capture “surprising and original” campaign imagery. Each of three interactive sets portrayed an unexpected way to enjoy the wines. In one, brightly colored butterflies flew across an all-white lounge carrying bottles of wine to guests listening to music provided by a “couture-clad” pianist. In another, a character “magically” emerged from a painting in a fuchsia room to pour glasses of Sauvignon Blanc for a model swaying on a swing, as the cocktail crowd looked on. A third set had guests mingling at a dinner party in a modern kitchen with gold counters, eating gold-encrusted food as bottles of the wine chilled nearby in a tiger ice sculpture. The campaign, launching this summer, will span online, print, outdoor and social media. The print ads, to appear in magazines including Elle, Elle Décor, Harper’s Bazaar, Details, Dwell and Wine Enthusiast, are being created by Kim Crawford’s agency, 180LA. Digital agency Organic, Inc. is working with the brand on a socially driven campaign employing Kim Crawford’s Web site, Facebook and Twitter pages. These elements will offer participants ways to “break out of routines” and share new perspectives on life, according to the brand. Fans will have to wait until June to see which event guests actually show up in the ads, but according to HauteLiving.com, attendees included actress Nora Zehetner (“Mad Men”), reality star/former model Kelly Killoren Bensimon, TV fashion show host Alexa Chung, Paper magazine editorial director Mickey Boardman, and various au courant fashion models. Founded in the late 1990’s by husband-and-wife partners Kim and Erica Crawford, Kim Crawford Wines is a leading producer of luxury-priced Sauvignon Blanc. It was acquired by Vincor Canada in 2003. Vincor was in turn acquired by Constellation Brands in 2006.
TV network tag lines are not brands -- and that's a big deal for Turner Broadcasting entertainment networks in regard to its advertising/marketing partners. Speaking at MediaPost's Outfront event, Steve Koonin, president of Turner Entertainment Networks, says: "There is a giant difference between a tagline and a brand. One of the acid tests we do for a marketer is -- can they tie with us and not with a specific program?" Koonin feels that any association with the network for marketers should be on a 24-hour basis. "By building a genre-based network, we are able to build opportunities." In that mode, he adds: "We don't do billboards for advertisers, [such as those that say] 'brought to you by.' " TNT's "We Know Drama" and TBS's "Very Funny" have been two longtime taglines for their respective networks, and they are needed, says Koonin. He says networks like History or Food describe themselves. But for Turner's networks, it is "alphabet soup." Unlike many other cable networks, Turner networks program 24 hours a day. "TNT and TBS don't have informercials; you want to be able to promote to people in the late evening and early day [and other dayparts]." Social media is also crucial to building a fan base: "We use to call it word of mouth." But as far as gaining huge swaths of revenues, Koonin takes a longer view. "The profitability comes from [growing] audiences." TNT, which in the midst of a growth spurt when it comes to program development, will see the end of its first big successful original show "The Closer." "It will have 106 episodes at the end of its run -- the most scripted episodes in the history of cable." Koonin says "The Closer" was the first big cable scripted show to break through the rankings of the broadcast network -- and that drew notice for advertisers. TBS is looking to ramp up its comedy efforts -- particularly its original programs -- even as reruns of "Big Bang Theory" have boosted the viewership of the networks. "Reruns are not sexy positioning," he says. When it comes to late-night comedy on TBS, Koonin says talk show "Conan" continues to do well, justifying the show's recent renewal. "It is very, very profitable," he says -- and now a solid No. 2 in ratings behind Comedy Central's "The Daily Show with Jon Stewart" and "The Colbert Report." Koonin says the "Conan" performance is good, considering how long the Comedy Central shows have been on the air. "Comedy is incredibly subjective," says Koonin. Soon, Conan O'Brien's production company will be producing shows for the network. O'Brien brings in younger, more valuable viewers, he adds. The average age for "Conan" is 35, which Koonin says is much younger than other late-night shows hosted by David Letterman, Jay Leno or Jimmy Kimmel. Overall, Koonin believes cable should remain somewhat of a rebel in the TV business: "We believe we are counter punchers."
Forrester Research created the "Facebook factor" to identify how much more likely Fans are to purchase a brand's products or services. The method, based on logistic regression modeling, requires brands to ask four questions around the following themes: being a Facebook fan of the brand, likelihood to purchase, amount of money spent in the past 12 months, and probability to recommend. The most interesting piece of the puzzle probably resides in the logistic regression modeling that analyzes the impact that the drivers -- such as being a Facebook fan -- have on key brand engagement indicators. A logistic model predicts the probability of occurrence of an event, and shows the influence of one variable on another. It analyzes how engaging with a brand while being a Fan influences the likelihood of a purchase, consideration and recommendation of a brand. About 96 of the top 100 advertisers use Facebook, according to the Forrester report. But how do customer interactions with brands influence engagement with a brand? In the study -- The Facebook Factor -- Forrester analyzed four brands: Best Buy BlackBerry, Wal-Mart and Coca-Cola. For all four brands, Facebook "Fandom" appears to have the greatest impact on purchases. For example, the odds of a Best Buy Facebook Fan purchasing something from the brand are 5.3 times higher than a non-fan, while the odds of a Fan recommending and considering the brand for future purchase are 4.7 and 4.0 times higher, respectively. While it signifies the strength of the relationship between the brand and Fan, the consumer purchase decision is not where marketers can make the greatest impact long-term. Similar to a viral campaign, the value in a brand's Fan base should focus on recommendations. The Forrester study found that Facebook Fans of each of the brands are more likely to recommend them than non-fans. Facebook Fans who are BlackBerry smartphone owners have an 87% probability of recommending BlackBerry to a friend or relative, while a BlackBerry owner who does not engage with BlackBerry on Facebook has a 44% likelihood of doing so. Having a Facebook fan base filled with brand advocates creates power for the brand and becomes a channel for influencers to spread the word -- not only across the social site, such as Facebook, Twitter, and Google+, but on search engines, as well.
Social media is permeating our personal and professional lives everywhere you look—even in the healthcare industry. As more hospitals, clinics, doctors and medical staff are joining social media platforms, it is imperative that healthcare providers have a comprehensive social media policy in place. Don’t have a policy in place yet? Looking for some motivation? Recent research shows that, of the 5,754 registered hospitals in the United States, 21% of them are actively using social media. That’s one out of five hospitals promoting and potentially engaging with the public and patients on Facebook, Twitter, Foursquare and YouTube. Facebook is by far the most popular social media choice with 87% creating a brand page and encouraging people to “like” them. Coming in second with 77% of hospitals is Foursquare, the social site that lets you “check in” to places to see who else is there and what they have to say about it. Twitter, the other social media golden child, is used by two-thirds of hospitals who tend to tweet about upcoming events, encourage wellness checks and screenings as well as provide helpful links and information to common ailments and conditions. Healthcare organizations are getting creative with their use of social media as well. While marketing, brand and reputation management are staples of their social programs, employee and clinical trial recruitment, education initiatives and patient monitoring are also in their repertoire. But what about the physicians? While 87% of them use social media for personal use, only 67% report using it for professional purposes. The AMA has provided guidelines advising physicians to keep “appropriate boundaries of the patient-physician relationship” suggesting they “consider separating personal and professional content online.” And that’s a good thing because, according to a Global Institute for Emerging Healthcare Practices report, one out of three physicians surveyed disclosed that a patient had tried to connect with them on Facebook and one-quarter of physicians accepted the friend request. With the potential risks around privacy, security and ethics breaches, it is critical that healthcare providers proactively implement policies before something happens. Policies protect not only the reputation of the business, but the privacy and rights of the individuals and the patients, too. If you haven’t created your policy yet, you are not alone. Forty-five percent of healthcare organizations surveyed reported having no policy in place. To help get you started, here are a few social media policy must-haves to include in your social media policy:
There’s no way you missed this week’s tech news: Facebook spent $1 billion to acquire Instagram, the mobile photo-sharing application sensation. This may be a factually accurate description, but it misses the heart of the story. What happened was, Facebook spent $1 billion to acquire a piece of itself. Photo sharing has always been a core part of Facebook. The site was conceived as a way to rank the attractiveness of founder Mark Zuckerberg’s fellow Harvard students. By May 2007, when few marketers were paying attention to Facebook, users had uploaded 1.7 billion photos to the site. Facebook reportedly notched its 100 billionth photo sometime last summer. Last August, when Flickr notched its 6 billionth photo uploaded, reports showed Facebook users uploading 6 billion photos every two months. There shouldn’t be any question why Facebook acquired Instagram, or why it paid so handsomely for it. Sure, Instagram’s acquisition price was more than twice what was paid for a dozen other photo-sharing startups combined over the past fifteen years. Instagram isn’t just any photo-sharing site, though. It attracted 30 million users for its iOS apps alone, before a successful Android launch just days ago. Beyond any numbers and superlatives, what Facebook’s executives must have realized is that Instagram should never have existed. This should have been Facebook’s photo application all along. Facebook has more than 400 million mobile users, and any of them using a smartphone has to grapple with subpar photo sharing. Once Instagram fully integrated with Facebook, it became even more obvious that Facebook was far behind. As Business Insider put it, “Without photos, Facebook is toast.” Instagram isn’t just a major source of photo sharing; it’s also a major contributor of public location-based data. Last fall, when I checked LocalResponse to research location-based services for a major quick service restaurant, Instagram trailed Twitter and rivaled Foursquare to join the top three sources. This also fits in well with Facebook’s approach, where checking into locations isn’t that important, but adding location information to status updates and content is increasingly common. Facebook even constantly recommends that users add locations to their photo albums. By acquiring Instagram, Facebook tacitly acknowledged that it had lost its focus on what Facebook has always been about. Instagram is an app that never should have existed in the first place. One wonders what would have happened to Instagram if Facebook took its engineering resources used in creating the timeline and applied it to creating the best mobile social media experience. At least now, Facebook doesn’t need to worry about Instagram as a competitor, and the deal ensures that no one else can lay their hands on the startup. Google and Apple could both have been interesting suitors. This acquisition once again reminds marketers how visual consumers are. Pinterest, Tumblr, and Instagram aren’t flukes; people enjoy expressing themselves via images. But Instagram has also followed Twitter’s lead in using simple hashtags to categorize images. This is crucial for organizing information right now; it’s still difficult to retrieve and search for images unless there are adequate tags and descriptions. What’s old is new again; plus ça change, plus c'est la même chose. Just about any marketer that has experimented with an Instagram campaign has relied on using a consistent hashtag for identifying relevant images. More importantly, this should be a wake-up call for all business executives. What other companies out there are embodying and executing on what you do even better than you are? What part of your corporate DNA has been stagnating at your headquarters, and where outside of your office is that DNA mutating for the better? What do you have to do to stay true to your identity, whether through in-house development or acquisition? Mark Zuckerberg found his answer for Facebook, and proudly paid $1 billion for it. Will it take that much for you to do the same?