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tiktokgrowthagency · 1 year ago

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TikTok Success Made Simple: Let Our Growth Agency Boost Your Profile

Cracking the code to TikTok success can be a daunting challenge, especially in a platform where trends change rapidly, and competition is fierce. If you've been struggling to gain traction or maximize your potential on TikTok, worry not! Our Growth Agency is here to simplify your path to TikTok success. In this blog, we will unveil the power of our agency in boosting your profile and helping you achieve the heights of popularity and engagement you've always dreamed of.

1. Personalized Growth Strategies

Every TikTok profile is unique, and success lies in tailoring strategies to suit your specific goals and niche. Our Growth Agency starts by understanding your objectives, target audience, and content style. Based on this valuable insight, we create personalized growth strategies that align with your brand or persona, giving you a competitive edge in the vast TikTok universe.

2. Strategic Content Optimization

Content is the foundation of TikTok success, and we leave no stone unturned in ensuring that your videos shine. Our agency's content experts analyze your previous posts, identify patterns, and optimize your future content accordingly. From engaging visuals to compelling captions, we craft each element strategically to captivate your audience and encourage more likes, shares, and follows.

3. Capitalizing on Trends and Challenges

TikTok thrives on trends and challenges, and staying relevant is key to success. Our Growth Agency is always on the lookout for emerging trends and popular challenges. By seamlessly incorporating these into your content, we enhance your visibility and participation in the TikTok community, making your profile a go-to destination for the latest and greatest.

4. Unlocking the Algorithm's Secrets

The TikTok algorithm is a powerful gatekeeper, determining which videos get featured on the "For You" page. Understanding and navigating this algorithm is crucial to increasing your reach. Our agency closely studies the algorithm's behavior, using data-driven insights to optimize your posting times, hashtags, and content formats, giving you the best chance of hitting viral gold.

5. Community Engagement and Interaction

A thriving TikTok profile is not just about numbers; it's about building an engaged community. Our Growth Agency emphasizes the importance of genuine interactions with your followers. By responding to comments, asking questions, and fostering a sense of community, we encourage greater engagement, which, in turn, fuels your profile's growth and success.

Conclusion

TikTok success doesn't have to be an enigma; with our Growth Agency by your side, it's made simple. From personalized growth strategies to content optimization, trend capitalization, algorithm mastery, and community engagement, our agency has the tools and expertise to elevate your TikTok profile to new heights. Let us be your partner in your TikTok journey, and together, we'll unlock the true potential of your TikTok success. Don't wait any longer; let our Growth Agency boost your profile and pave the way for your TikTok triumph!

#Tiktok Growth Agency

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sociocosmos · 4 days ago

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thestreamchasers · 3 months ago

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TikTok LIVE Agency: The Future of Content Creation with The Stream Chasers

For artists, influencers, and companies trying to interact with their audience in real-time in the fast-paced digital terrain of today, TikTok LIVE has evolved into a necessary tool. The platform's dynamic and interesting features have helped it become more and more popular for everything from product marketing to live Q&A sessions to the sharing of unplanned events. On TikTok LIVE, success calls for strategic preparation, audience involvement, and technological know-how—not just for pressing the "go live" button. This is where top TikTok LIVE agency The Stream Chasers can help.

What is a TikTok LIVE Agency?

Specialising on assisting artists and companies maximise their live streaming efforts on TikTok, a TikTok LIVE agency From audience involvement and analytics to content development and stream advertising, these companies provide complete services to guarantee every live broadcast meets criteria. With their sector knowledge, the Stream Chasers stand out as a preferred partner for TikTok producers trying to improve their live streaming performance.

Why Choose The Stream Chasers?

Knowing the algorithms and audience behaviour of TikTok, The Stream Chasers provides customised plans meant to boost awareness and interaction on TikTok LIVE. They guide you on the proper moment to go live, the ideal material to show, and the methods that convert casual viewers into devoted followers. Their data-driven strategy guarantees that every live session is maximised for effect and reach.

Key Services Provided

● Content Strategy: Working with producers, The Stream Chasers designs live material that appeals to their target market.

● Real-Time Analytics: Track performance and, using The Stream Chasers' data insights, make changes on-demand.

● Audience Engagement: Interactive components such surveys, Q&As, and shout-outs help viewers to develop real relationships.

● Promotion & Growth: The agency advances exposure and audience reach by pushing your live broadcasts across many channels.

More than simply a fad, TikTok LIVE is the social media participation of the future. The Stream Chasers will help you to make sure your live broadcasts are not only enjoyable but also deliberately placed for success.

Conclusion

Real-time interactions between artists and companies with their audiences on TikTok LIVE have changed how Standing out among the competitors as the platform expands asks for strategic knowledge rather than just inventiveness. Leading TikTok LIVE agency The Stream Chasers provides the tools and skills required to elevate your live material. Their services include content planning to real-time analytics, thus ensuring your streams are successful, interesting, and effective. Working with The Stream Chasers means not just launching but also prospering in the always changing realm of TikTok.

#TikTok LIVE Agency #TikTok LIVE Agency Australia #TikTok monetization #TikTok Australia #TikTok New Zealand #TikTok LIVE Creator Network #TikTok earnings #TikTok streaming tips #TikTok influencers #free TikTok agency #TikTok growth strategies #TikTok LIVE events

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richard-smith · 7 months ago

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How a TikTok Growth Agency Can Get Your Content Seen?

This is where a TikTok growth agency in Miami, or wherever you are situated, steps in, armed with strategies and insights to propel your content into the limelight. Let's dive into how these specialized agencies work their magic to get your content seen by the masses.

#influencer models #tiktok growth agency in miami

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mariacallous · 7 months ago

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Climate denial may be on the decline, but a phenomenon at least as injurious to the cause of climate protection has blossomed beside it: doomism, or the belief that there’s no way to halt the Earth’s ascendant temperatures. Burgeoning ranks of doomers throw up their hands, crying that it’s too late, too hard, too costly to save humanity from near-future extinction.

There are numerous strands of doomism. The followers of ecologist Guy McPherson, for example, gravitate to wild conspiracy theories that claim humanity won’t last another decade. Many young people, understandably overwhelmed by negative climate headlines and TikTok videos, are convinced that all engagement is for naught. Even the Guardian, which boasts superlative climate coverage, sometimes publishes alarmist articles and headlines that exaggerate grim climate projections.

This gloom-and-doomism robs people of the agency and incentive to participate in a solution to the climate crisis. As a writer on climate and energy, I am convinced that we have everything we require to go carbon neutral by 2050: the science, the technology, the policy proposals, and the money, as well as an international agreement in which nearly 200 countries have pledged to contain the crisis. We don’t need a miracle or exorbitantly expensive nuclear energy to stave off the worst. The Gordian knot before us is figuring out how to use the resources we already have in order to make that happen.

One particularly insidious form of doomism is exhibited in Kohei Saito’s Slow Down: The Degrowth Manifesto, originally published in 2020 and translated from Japanese into English this year. In his unlikely international bestseller, Saito, a Marxist philosopher, puts forth the familiar thesis that economic growth and decarbonization are inherently at odds. He goes further, though, and speculates that the climate crisis can only be curbed in a classless, commons-based society. Capitalism, he writes, seeks to “use all the world’s resources and labor power, opening new markets and never passing up even the slightest chance to make more money.”

Capitalism’s record is indeed damning. The United States and Europe are responsible for the lion’s share of the world’s emissions since the onset of the Industrial Revolution, yet the global south suffers most egregiously from climate breakdown. Today, the richest tenth of the world’s population—living overwhelmingly in the global north and China—is responsible for half of global emissions. If the super-rich alone cut their footprints down to the size of the average European, global emissions would fall by a third, Saito writes.

Saito’s self-stated goals aren’t that distinct from mine: a more egalitarian, sustainable, and just society. One doesn’t have to be an orthodox Marxist to find the gaping disparities in global income grotesque or to see the restructuring of the economy as a way to address both climate breakdown and social injustice. But his central argument—that climate justice can’t happen within a market economy of any kind—is flawed. In fact, it serves next to no purpose because more-radical-than-thou theories remove it from the nuts-and-bolts debate about the way forward.

We already possess a host of mechanisms and policies that can redistribute the burdens of climate breakdown and forge a path to climate neutrality. They include carbon pricing, wealth and global transaction taxes, debt cancellation, climate reparations, and disaster risk reduction, among others. Economies regulated by these policies are a distant cry from neoliberal capitalism—and some, particularly in Europe, have already chalked up marked accomplishments in reducing emissions.

Saito himself acknowledges that between 2000 and 2013, Britain’s GDP increased by 27 percent while emissions fell by 9 percent and that Germany and Denmark also logged decoupling. He writes off this trend as exclusively the upshot of economic stagnation following the Lehman Brothers bankruptcy in 2008. However, U.K. emissions have continued to fall, plummeting from 959 million to 582 million metric tons of carbon dioxide equivalent between 2007 and 2020. The secret to Britain’s success, which Saito doesn’t mention, was the creation of a booming wind power sector and trailblazing carbon pricing system that forced coal-fired plants out of the market practically overnight. Nor does Saito consider that from 1990 to 2022, the European Union reduced its emissions by 31 percent while its economy grew by 66 percent.

Climate protection has to make strides where it can, when it can, and experts acknowledge that it’s hard to change consumption patterns—let alone entire economic systems—rapidly. Progress means scaling back the most harmful types of consumption and energy production. It is possible to do this in stages, but it needs to be implemented much faster than the current plodding pace.

This is why Not the End of the World: How We Can Be the First Generation to Build a Sustainable Planet by Hannah Ritchie, a data scientist at the University of Oxford, is infinitely more pertinent to the public discourse on climate than Saito’s esoteric work. Ritchie’s book is a noble attempt to illustrate that environmental protection to date boasts impressive feats that can be built on, even as the world faces what she concedes is an epic battle to contain greenhouse gases.

Ritchie underscores two environmental afflictions that humankind solved through a mixture of science, smart policy, and international cooperation: acid rain and ozone depletion. I’m old enough to remember the mid-1980s, when factories and power plants spewed out sulfurous and nitric emissions and acid rain blighted forests from the northeastern United States to Eastern Europe. Acidic precipitation in the Adirondacks, my stomping grounds at the time, decimated pine forests and mountain lakes, leaving ghostly swaths of dead timber. Then, scientists pinpointed the industries responsible, and policymakers designed a cap-and-trade system that put a price on their emissions, which forced industry into action; for example, power plants had to fit scrubbers on their flue stacks. The harmful pollutants dropped by 80 percent by the end of the decade, and forests grew back.

The campaign to reverse the thinning of the ozone layer also bore fruit. An international team of scientists deduced that man-made chlorofluorocarbons (CFC) in fridges, freezers, air conditioners, and aerosol cans were to blame. Despite fierce industry pushback, more than 40 countries came together in Montreal in 1987 to introduce a staggered ban on CFCs. Since then, more countries joined the Montreal Protocol, and CFCs are now largely a relic of the past. As Ritchie points out, this was the first international pact of any kind to win the participation of every nation in the world.

While these cases instill inspiration, Ritchie’s assessment of our current crisis is a little too pat and can veer into the Panglossian. The climate crisis is many sizes larger in scope than the scourges of the 1980s, and its antidote—to Saito’s credit—entails revamping society and economy on a global scale, though not with the absolutist end goal of degrowth communism.

Ritchie doesn’t quite acknowledge that a thoroughgoing restructuring is necessary. Although she does not invoke the term, she is an acolyte of “green growth.” She maintains that tweaks to the world’s current economic system can improve the living standards of the world’s poorest, maintain the global north’s level of comfort, and achieve global net zero by 2050. “Economic growth is not incompatible with reducing our environmental impact,” she writes. For her, the big question is whether the world can decouple growth and emissions in time to stave off the darkest scenarios.

Ritchie approaches today’s environmental disasters—air pollution, deforestation, carbon-intensive food production, biodiversity loss, ocean plastics, and overfishing—as problems solvable in ways similar to the crises of the 1980s. Like CFCs and acid rain, so too can major pollutants such as black carbon and carbon monoxide be reined in. Ritchie writes that the “solution to air pollution … follows just one basic principle: stop burning stuff.” As she points out, smart policy has already enhanced air quality in cities such as Beijing (Warsaw, too, as a recent visit convinced me), and renewable energy is now the cheapest form of power globally. What we have to do, she argues, is roll renewables out en masse.

The devil is in making it happen. Ritchie admits that environmental reforms must be accelerated many times over, but she doesn’t address how to achieve this or how to counter growing pushback against green policies. Just consider the mass demonstrations across Europe in recent months as farmers have revolted against the very measures for which Ritchie (correctly) advocates, such as cutting subsidies to diesel gas, requiring crop rotation, eliminating toxic pesticides, and phasing down meat production. Already, the farmers’ vehemence has led the EU to dilute important legislation on agriculture, deforestation, and biodiversity.

Ritchie’s admonishes us to walk more, take public transit, and eat less beef. Undertaken individually, this won’t change anything. But she acknowledges that sound policy is key—chiefly, economic incentives to steer markets and consumer behavior. Getting the right parties into office, she writes, should be voters’ priority.

Yet the parties fully behind Ritchie’s agenda tend to be the Green parties, which are largely in Northern Europe and usually garner little more than 10 percent of the vote. Throughout Europe, environmentalism is badmouthed by center-right and far-right politicos, many of whom lead or participate in governments, as in Finland, Hungary, Italy, the Netherlands, Serbia, Slovakia, and Sweden. And while she argues that all major economies must adopt carbon pricing like the EU’s cap-and-trade system, she doesn’t address how to get the United States, the world’s second-largest emitter, to introduce this nationwide or even expand its two carbon markets currently operating regionally—one encompassing 12 states on the East Coast, the other in California.

History shows that the best way to make progress in the battle to rescue our planet is to work with what we have and build on it. The EU has a record of exceeding and revising its emissions reduction targets. In the 1990s, the bloc had the modest goal of sinking greenhouse gases to 8 percent below 1990 levels by 2008-12; by 2012, it had slashed them by an estimated 18 percent. More recently, the 2021 European Climate Law adjusted the bloc’s target for reducing net greenhouse gas emissions from 40 percent to at least 55 percent by 2030, and the European Commission is considering setting the 2040 target to 90 percent below 1990 levels.

This process can’t be exclusively top down. By far the best way for everyday citizens to counter climate doomism is to become active beyond individual lifestyle choices—whether that’s by bettering neighborhood recycling programs, investing in clean tech equities, or becoming involved in innovative clean energy projects.

Take, for example, “community energy,” which Saito considers briefly and Ritchie misses entirely. In the 1980s, Northern Europeans started to cobble together do-it-yourself cooperatives, in which citizens pooled money to set up renewable energy generation facilities. Many of the now more than 9,000 collectives across the EU are relatively small—the idea is to stay local and decentralized—but larger co-ops illustrate that this kind of enterprise can function at scale. For example, Belgium’s Ecopower, which forgoes profit and reinvests in new energy efficiency and renewables projects, provides 65,000 members with zero-carbon energy at a reduced price.

Grassroots groups and municipalities are now investing in nonprofit clean energy generation in the United States, particularly in California and Minnesota. This takes many forms, including solar fields; small wind parks; electricity grids; and rooftop photovoltaic arrays bolted to schools, parking lots, and other public buildings. Just as important as co-ownership—in contrast to mega-companies’ domination of the fossil fuel market—is democratic decision-making. These start-ups, usually undertaken by ordinary citizens, pry the means of generation out of the hands of the big utilities, which only grudgingly alter their business models.

Around the world, the transition is in progress—and ideally, could involve all of us. The armchair prophets of doom should either join in or, at the least, sit on the sidelines quietly. The last thing we need is more people sowing desperation and angst. They play straight into the court of the fossil fuel industry.

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skogjeger · 2 years ago

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Beginners Can Work With Deities ❁ཻུ۪۪ ━

‧₊˚. : · •. * • ˚ . · * ✶ : · • * ˚ ✵

As an individual who tries to actively engage with deities and seeks to maintain an ongoing connection in every feasible manner, one concept that has consistently bothered me is: "Beginners can't work with deities." While I understand the importance of guidance and experience in any spiritual journey, the complexity that comes along with the idea of working with deities and more—I firmly believe that beginners should not be discouraged from exploring and developing relationships with deities if they feel called to do so and or being pushed to do so.

A common problem I frequently observe is the spreading of fear within communities regarding certain deities. People are often told that these deities are intimidating, demanding, "horrifying," and can exhibit possessiveness, jealousy, control, or aggression. They are made to believe that skipping a day of worship or neglecting their craft will lead to negative consequences. This narrative is both harmful and completely untrue. It is filled with misinformation and promotes fear-mongering. Moreover, it wrongly restricts a deity's behaviour and portrays higher beings as something to be afraid of, rather than respecting their power and the impact that they do make. Additionally, it perpetuates the notion that the deity is flawless and incapable of making mistakes, despite numerous stories suggesting otherwise. A lot of this can be the fault of our beliefs being heavily Christianized with the "Lord and Servant" dynamic.

Working with deities is a deeply personal and individual journey. Each person's path is unique, and what works for one may not work for another. It is essential to remember that there is no one-size-fits-all approach when it comes to connecting with the deities. By imposing a blanket statement that beginners should not work with deities, we are effectively restricting their spiritual growth and potential. We all started somewhere. We were all beginners.

I understand the concern about someone's journey and the potential involvement of a "trickster spirit." However, it's important to note that these spirits are easily recognizable, and not everyone believes in them. In fact, such encounters are quite rare! If you've been engaging with deities, symbols, or any associations connected to them, the chances of encountering a "trickster spirit" are highly unlikely. So don't believe everything you hear on TikTok or YouTube and follow your intuition. Also, keep in mind that this belief doesn't just restrict itself to deities, but it could even be with guides.

If you've done a lot of research on a deity that you feel drawn towards then go forward working with them, especially if you feel that there is a connection.

It's worth noting that working with deities is not a requirement. There are witches and pagans who choose not to incorporate deities into their practice or much rather, they may be working with something else or nothing at all. It doesn't make them less of a pagan or a witch or whatever they choose to identify as.

Deity Relationships ❁ཻུ۪۪ ━

Practitioners can develop various relationships with deities, such as parent/child, teacher/student, familial, friends, or lovers (although that topic can be discussed separately). The possibilities for a person's connection with a deity are diverse and not limited to a single type of relationship.

𖤣𖥧˚ A healthy relationship with a deity can look like

Mutual Respect: A healthy deity relationship is built upon a foundation of respect. Both the individual and the deity should honour and acknowledge each other's boundaries, beliefs, and values. Respect entails treating the deity as a revered entity while also recognizing one's own worth and agency as an individual.

Clear Communication: Open and consistent communication is vital in a healthy deity relationship. This can involve prayers, rituals, meditation, or any other form of spiritual practice that allows for a genuine connection. Regularly engaging with the deity helps foster a deeper understanding and strengthens the bond between both parties.

Reciprocity and Offerings: Healthy deity relationships often involve an element of reciprocity. Devotees offer their devotion, time, energy, and resources as acts of love and reverence. These offerings can take various forms, such as prayers, rituals, sacrifices, donations, or acts of service. In return, devotees may receive blessings, guidance, and support from the deity.

Boundaries and Consent: Just as in any relationship, it is crucial to respect boundaries and seek consent. Devotees should be mindful of the deity's boundaries and follow established protocols or traditions. It is also important to remember that a deity has agency and can choose to engage or withdraw from the relationship at any time. Just like the devotee. Consent and boundaries foster a healthy and respectful dynamic.

Flexibility and Adaptability: A healthy deity relationship is adaptable to change and growth. As individuals evolve on their spiritual journey, their understanding, needs, and perspectives may shift. Similarly, deities may reveal different aspects of themselves or guide individuals in new directions. Flexibility and openness to these changes contribute to the health and longevity of the relationship.

𖤣𖥧˚ An unhealthy relationship with a deity can look like

Codependency: If the practitioner becomes overly dependent on the deity for every aspect of their life, it can indicate an unhealthy dynamic. Relying solely on the deity for decision-making, guidance, and validation without exercising personal agency and autonomy can lead to an imbalanced relationship.

Lack of Boundaries: Boundaries are essential in any relationship, including deity relationships. If the practitioner disregards their own boundaries or if the deity consistently crosses them, it can result in an unhealthy and potentially harmful connection. Boundaries should be respected and honoured by both parties involved.

Coercion or Manipulation: If the practitioner feels compelled or pressured by the deity to engage in actions or rituals against their will or moral compass, it can indicate an unhealthy dynamic. Deities should not manipulate or force practitioners into obedience or compliance.

Fear or Punitive Beliefs: If the practitioner constantly lives in fear of retribution, punishment, or wrath from the deity, it suggests an unhealthy dynamic. Deities should not be perceived as solely punitive figures, but rather as sources of guidance, support, and compassion.

Loss of Critical Thinking: When a deity relationship discourages critical thinking, questioning, or individual discernment, it can lead to a loss of personal agency and autonomy. An unhealthy dynamic may involve blind obedience or a strict adherence to dogma without room for personal growth or exploration.

Please note that the actions described may not necessarily be attributed to a deity. It could involve the practitioner or other factors at play. This example aims to illustrate an unhealthy relationship between a deity and the practitioner, rather than stating that it will definitely occur.

𖤣𖥧˚ What if a Deity Doesn't Want to Work with You?

If a deity chooses not to work with you, it's important to acknowledge their prerogative. It doesn't mean you are "bad" or "evil." Similar to human relationships, not everyone can be friends, and the same applies to interactions with deities. It's acceptable for deities to decline, just as it is for you to decline to work with them. They won't punish you for your efforts, and they certainly won't punish you for saying no to working with them.

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georgegraphys · 1 day ago

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I understand that some people might think marketability and popularity is important for George's career growth

But in my opinion and from my experience, that should be the last of the concerns you have. Why? Let me explain it (not so) briefly

We all know that everyone wants to be popular (not a wicked reference) but the important thing people often forgot is sustainability and longevity. You don't want to be a one hit wonder whose tiktok account blows up in a year, hits 30M followers and the next following years you only have 10k likes at the very most. You don't want that.

When measuring "popularity" and "growth", you don't just mention a random number or judge things from an external POV. You need to look at 100+ different aspects in order to judge things through. I'm giving several reasons as to why George's current popularity growth right now is very positive and you don't need to worry about anything.

1. George's popularity has been consistently growing since his first breakthrough in Sakhir 2020. Last year, according to this article written on December 11th 2023, George recorded 4.9M followers on instagram. As of today (2024/12/28), George has 6.2M followers. A 1.3M growth in less than a year. That is a consistent growth. A good trend going upwards and not downwards. These numbers and growth shows that George is going through an organic natural growth in his popularity as an F1 driver.

This also shows how George EMV is also doing great. First data is George's EMV from 22/23. Second one is George's EMV during the summer break period of 2024.

What is EMV? Earned Media Value represents the equivalent dollar value of exposure gained through non-paid channels, such as social media mentions, reviews, and organic search results. This metric quantifies the impact of word-of-mouth and organic reach in monetary terms.

Look at how he is actually doing very great. Although the reports aren't available for this year yet, I'm 100% sure things will be better this year because the growth for George PR wise is looking very positive and promising

2. Let's talk about priorities. Rather than signing up with random brands, doing disorganized campaigns at once, and signing up with a marketing agency to get the PR done, it would be better for George to have the current organic growth he has rn. Things that are artificial do not last long. Sometimes they do, if George manages to land a good agency that can understand and read him well. But if he doesn't? He might hit the wrong market of people and annoy them.

Mercedes' social media game might be weak. But guess what is not weak? Their sponsors. Currently, George hits 96 PR schedules done for Mercedes in 2024. Throughout these 96 schedules, sponsors such as Tommy Hilfiger, Ritz Carlton, Puma, Marriott, Mercedes Benz, and many more had pushed the publicity so hard through partnering with popular media partners such as Elle, HYPEBEAST, Esquire, L'Officiel Hommes, HIGHSNOBIETY, GQ, Dazed, Forbes, Prestige, DMARGE, Vogue, and many more. If you read these articles, click on their link, search George Russell's name on any platform, click the link to his instagram/posts on these articles, etc, all of that contributes to his EMV and engagement growth. There is a glaring difference between the contents put out by the sponsors last year and this year. With the excellent performance George had this year, the sponsors are also eager to push his stories out to the media, creating partnerships, and publicity for him. What they're doing right now exceeds my OG expectation because slowly but surely they are pairing George up with top media!

I know that some are itching to see George partnering with brands/companies outside of the Mercedes sponsor list. Some might also think that continuously partnering with the same 10 sponsors on the circle of the team's sponsor can be a sign of weakness. But I disagree. Why? Because these "partnering with the same ol' 10 fellas" move is actually something that is called BUILDING TRUST, EQUITY, AND LOYALTY. The more trust George and these team sponsors have the more George is going to be pushed by them and the more other brands are going to notice his marketability and try to snatch him for competitions. More trust can also result in the brand including George to external non-F1 related sponsorship campaigns. This is a very positive one as it allows George to be naturally introduced to a new market, gain more fans, more marketability and engagement, and eventually? the general public and other brands' attention

Here, i'm going to make an example out of George and his campaigns with Puma.

In March 2022, George became a Brand Ambassador of Puma.

From here, he does a lot of schedules for Puma, but only motorsport related.

We all know George's 2022 campaign was positive, allowing him to gain popularity through his success. Puma starts pushing him to another market. Puma Football. He attends the 2022/2023 UEFA Champions League

Let's use our logic but not the "george never watch football live" logic. Let's make it make sense and have a certain significance in it.

If George was not invited by Puma, he wouldn't have worn that fancy suit and have his father and brother all suited up too and walk down the blue carpet, and get interviewed by several football media. Like why the hassle? He was obviously invited.

By who? PUMA. Why? Because one of the finalists of the 22/23 Champions League, Manchester City is sponsored by none other than Puma! And one of Manchester City's player, Jack Grealish is a Puma ambassador. Hence, why we got a picture of George with Jack posted.

Moving on from the Champions League and onto the present timeline, Puma releases a new football boot in collaboration with F1 technology, Puma Ultra 5 Carbon

George was on the promotional line up alongside ManCity's Bobb, Liverpool's Gakpo, AC Milan's Pulisic, Barça Femeni's Rolfo, and Bayern's Coman.

He was the only F1 driver featured in Puma Football posts doing videos about the boots. I'm taking three as an example

Back to the question, why is this relevant? Notice how in Coman's video, George was the most mentioned name in the questions they ask to Coman. This is actually a soft marketing to introduce the name George Russell through repetition from a video to a new market that is the football fans whose faves are wearing Puma's team kit, is an ambassador of Puma, is a fan of Kingsley Coman/FC Bayern München, and general football fans. He is an F1 driver whose videos are featured in a football brand page. Who follows the brand? Football fans of course.

If you still don't get it, Puma basically started off with George as an ambassador to Puma in the Motorsport division specifically. But as time went on and his F1 campaign in 2022 went well which impacts his popularity, Puma starts to think of using George as a "bridge" connecting Puma Football and Puma Motorsport. First, they subtly partner him with Manchester City through the UCL invite and through the link up with their ambassador, Jack Grealish. Next? They are including him in the promotional line up of a football boot launch which includes several other notable names in football. And that's how Puma used George as their go-to guy to link up their F1 and Football business. Maybe one day, George can get the invitation to other Puma partners' football matches. Could be Borussia Dortmund, Al Hilal, AC Milan, and others.

You see how these link ups work slowly but surely as George builds trust, loyalty, and connection to the brand? Yes. That is what is more important than linking up with as many brands as possible but developing 0 loyalty and 0 relationships with them. It makes you weak, vulnerable, and replaceable. One's image could fade if they continue doing that. Because it portrays them as someone with zero sense of personality and loyalty. That is what is important.

And this is something I hope people do not get pessimistic over the fact that "oh no George is only partnering with team sponsors!". No Miranda No. These sponsors have branches everywhere. Puma has branches. Tommy is under PVH who also has Calvin Klein as their sister company. Ritz Carlton and Marriott Bonvoy have sister hotel chains like St. Regis, BVLGARI, Westin, Sheraton, and many others. If George can build a good connection with these brands and those connections will eventually lead him to be trusted by parent companies, it would open his opportunities to bigger ones. And it could also be an advantage if he gets included in partnerships like how he is included in Puma Football partnerships. They can introduce him to a whole different market of fans just like Puma did him to football fans. It could be Hollywood or even the K-Pop industry and many more. And to add, collaborations with notable names in these respective industries can also create a halo effect for George in the eyes of those figures' fans. A good reputation could be built and they can get to know him, even if it's just his name or a curious search on who George Russell is.

Another important advantage to remember is that these good connections and well-built relationships can help George retain good relationships with these brands even if one day they stop sponsoring Mercedes. They can still employ him individually that way and it will be so beneficial for him.

Lastly, I just want to say again and again, please stop viewing the world from a dense point of view of "numbers". Numbers are not always an accurate portrayal of certain things. Those numbers needed to be interpreted too and have other aspects included in it. Big numbers don't always equal good numbers. I promise you, you will not want George to collaborate with 10 different brands and be someone with 0 personality and end up with 0 connection and relevance to any brand. A title of "brand ambassador" even if it's just ONE brand has more weight than just being an invited guest of random brands. A brand ambassador title gives you value. Allows you to become the muse of a certain campaign. Being a guest don't. It doesn't give you stability and longevity. It's better to maintain good and stable relationships with a small amount of brand rather than being someone of no importance and is just another replaceable figure to 100 brands.

The process of building these loyalty and trust is long but patience will be repaid when the time is right. George's current growth and his ongoing connection with all of Mercedes' sponsors are positive and promising. Maintaining that relationship and connection is the priority. What is not a priority is running to a marketing agency, asking them to create a fake artificial publicity, and asking them to plant you to a market. It is not sustainable and just because you see people get successful off it doesn't mean the same formula works on others. Yes, it does help you get popularity fast. But your popularity will fall as fast as it rises. Patience is the key.

#ari's rambles #sponsor talks #pr talks

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atzupdates · 2 years ago

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[230303] ATEEZ are showing the world another side of K-pop by Taylor Glasby of i-D

Going stratospheric despite their small agency beginnings, the arena headliners discuss manifesting success and their secret ambitions.

ATEEZ have just played a raucous show to 20,000 fans at London’s O2 Arena. Backstage, with the adrenalin still pumping, Hongjoong, Seonghwa, Yeosang, Mingi, San, Wooyoung, Yunho and Jongho are talking about football. Mingi, deep-voiced, his cropped hair cotton candy pink, is a Chelsea fan. Jongho, the band’s youngest at 22, follows Spurs. “Which is better?” asks Mingi. My tentative, uninformed guess (“Spurs?”) yields triumphant hoots and disappointed groans, as Jongho reaches over for a fist bump and hi-five. This exchange isn’t so much about football, as it is a reflection of ATEEZ wanting to make everyone they encounter feel welcome – a habit unchanged despite their stratospheric rise through the global pop landscape since debuting in late 2018.

During their week-long stay, they meet fans (known as ATINY) at a signing event, make late-night TikToks beneath the glow of Big Ben, go live on YouTube from a cosy corner of a hotel room, and watch South Korean forward Son Heungmin score at a Tottenham Hotspur game. The club’s home stadium (soon to host Beyoncé’s five London concerts) leaves a lasting impression on Yeosang: “When I saw how big it was and how loud the people were, I thought about how I want to be an artist that can play there,” he says in his slightly raspy voice. Wooyoung’s thoughts, however, linger Stateside in the wake of their most recent EP, Spin Off: From The Witness, earning them a second Top 10 entry on the Billboard 200 in early January. “I don’t know if it’s a team goal or my own,” he admits, “but I do want a #1 on the Billboard Hot 100. Hoping for it to happen is the easy part, but what’s necessary is the confidence and bravery in the belief that it will happen.”

ATEEZ’ ambitious nature is an overarching constant to their rapid growth as individuals and artists, useful as both a touchstone of their success and a beacon for their creative output. It was present on their first record, Treasure EP1: All To Zero, which set up a rebellious narrative (now a complex and sprawling alt-world storyline) just as much as it drives their meteoric singles and the exploratory genre-overlaps of their B-sides. As a result, they’ve become a prolific and landmark group. The World EP.1: Movement (their ninth EP, out in July 2022) was ATEEZ’ first platinum-selling release, a major accomplishment for an idol group from a relatively small K-pop agency.

Hongjong, the band’s leader, thinks and talks fast (today, in English) but he pauses to take a moment to muse over their trajectory. “Many people say that I can be proud of being a group from a small company that has made their own way. So if we continually do it like this with ATINY, then in the future people might agree that ATEEZ have made a change in K-pop. I think for now though, we haven’t done enough.”

They hope, notes Seonghwa (the band’s eldest member at 24), that their achievements will eventually be on a broader scale. “We’d love to be the people behind that movement,” he says. Hongjoong nods in agreement: “I want for us to provide people with a better understanding of K-pop worldwide. There are people who continue to say that K-pop is so technical and manufactured but K-pop isn’t just a single genre; each group has a different type of art and I want to show how we express our art to everyone. When I look into the crowd at concerts, I can see so many people of all ages and backgrounds yet stereotypes against the artists and the fans still exist.”

In the early days of ATEEZ, it was evident that Hongjoong and Mingi played a key role alongside their music production team, Edenary, and that a sense of individualism seemed to be encouraged in the group’s performances. These are both now acknowledged as strengths in their arsenal. The Fellowship: Break The Wall, their third world tour, serves to highlight their unified stance while showcasing the members’ idiosyncrasies — from dance style to sense of humour — but also how comfortably they inhabit the stage.

“During our 2019 Expedition tour, we learned a lot about how to perform with every show we did,” says Yunho, an effortlessly impressive dancer. “Then during the pandemic, we studied and developed how to really make the performance; working on the stage configuration and synchronisation of moves amongst ourselves. When we came back to Europe and the US last year for the Fellowship: The Beginning of the End tour, we were able to see how everything we’d worked on and our personal growth came together on that stage.”

For some members, the process has involved looking beyond the stage in order to feel more at home on it. Yeosang’s regimented program of working out put him physically and mentally in a stronger place: “I relieve my stress while exercising, but my breathing got better and my muscles also got better, so overall it connected into a great result on stage.” San and Seonghwa also turned inward, sifting through mental libraries of borrowed or imaginary traits to build and inhabit new characters for their performances.

“I always have a lot of imaginative thoughts,” says Seonghwa, whose general serenity is replaced by a lightning-strike energy on stage and sparks of playfulness when you least expect it. “Even before sleeping, I tend to think about fantastical things,” he continues. “I use these to decide on how I’m going to be on stage and make sure the atmosphere matches with elements like my outfit.”

“For San, it’s movies and dramas [that inspire his performances], he takes those characters on,” explains Wooyoung. San, widely lauded for having an explosive stage presence, makes his creative choices the day of. “If there’s something I think of that I want to do that day, I share it with everyone to see if it will be okay. Then we create that image together and I simply express myself.”

Wooyoung, who is both mischievous and magnetic, looks to those he admires for guidance. “I mostly look at videos of our seniors – Jimin (BTS), Taeyang (Big Bang), Hoshi (SEVENTEEN), there’s so many – I get inspiration from them and make it my own on stage.” It’s a process also adopted by Yunho. “There are artists that I can pull from, like Rain, learning from them in order to realise my own style,” Yunho says. “On stage, it’s just me, I’m myself, but I have all this in the back of my mind.”

The title of their current tour, The Fellowship: Break The Wall, is derived from last summer’s single, “Guerrilla”, on which the phrase “break the wall” is chanted with increasing ferocity, culminating in a screamo-style vocal outro. It’s one of the show’s many high points, with ATINY putting their everything into screaming along with the band. The atmosphere grows feverish, the stage bathed in red light as the giant screens flash through the dystopian city of their storyline. It’s unbridled to the point of being transcendental. San grins, reflecting on this moment. “It’s difficult to explain,” he says of the experience, while Hongjoong sees in it the removal of cultural barriers through music. “I see ATINY during ‘Guerrilla’ singing along really loud and really tough,” he says. “They come to our show, they memorise our lyrics, they shout. That’s how they’re breaking the wall, by coming together.”

Since last October, ATEEZ have been playing arenas across Asia, the US and Europe, adding extra nights as they go in order to accommodate the demand, and garnering rave reviews — even from broadsheet media, for whom K-pop remains a confusing phenomenon — in the process. But their feet, heart and heads remain earthbound. “Nothing in this world is guaranteed,” says Wooyoung. “We’re always grateful for everything. It’s something we’ve discussed as a group, but it’s all thanks to ATINY’s love and support that we’re where we are now. To become global artists and a good influence on even more people, we have to hold a sense of responsibility to give our all on stage and deliver our truth. Honestly, it’s less about dreaming of an unknown future and more about how we have to work harder so we can go even higher and pave our own path.”

ATEEZ’ success is holistic in form: personality, performance and music. A harmonious but intriguing balance of authenticity and polish. Their impressive discography features recurring motifs (waves, moon, light) and ideologies (power, truth, rebellion, movement), yet Mingi and Hongjoong — who have written lyrics on every ATEEZ track so far — admit they’re still learning how best to combine what’s on their minds with what’s conducive to furthering their storyline. It is, they agree, not always an easy task.

“It’s absolutely hard to focus on so many themes,” says Hongjoong. “Sometimes my brain stops, so I watch movies or our music videos again. I think too much when I write but, after that work, the lyrics have more power for the fans who know our storyline; they get different emotions and a different effect when I’ve done that work well. It’s really hard but it’s important to do.”

Hongjoong had an epiphany when he picked up a camera while touring last year. “There's such fierce competition – not just in music but all industries – so if there’s no purpose, I’ve always found it really hard to create freely. We have continuous deadlines. I do the first album, then the second, and once I complete the second album I have to start on the third. I’ve found my hobby with a film camera. I walk around taking photos and I can see that even if I have no immediate purpose, I can create something.” It’s something that’s changed his approach to songwriting. “These days, when I write lyrics or produce a song, I just start from zero,” he explains. “Before, if we had a pirate theme, for example, I would start with that as a topic. That’s why I found it so hard.” He now works backward, getting down exactly what he wants to say before connecting it to the narrative markers. “It’s quite different but it’s more comfortable for me and the results are better than before.”

Hongjoong and Mingi, the group’s rappers, point to last year’s "Halazia” as the hardest storyline track to pen. “The atmosphere of the song is already quite difficult and complex,” Hongjoong notes, looking over to Mingi, who explains his process of cataloguing his many thoughts to later draw from. “I write down a lot of them as memos on my phone, so I always go back to them to see if they match what we’re going through (as a group); that’s how I write my lyrics,” he says. “Sometimes I’ll think of it as writing a script, to really get into that persona."

Mingi and Hongjoong are not the only collectors and creators in ATEEZ. “In my case,” says Seonghwa, “I always memo whenever I hear a line from a song or a line from a poem that I like, just for me to look back on. I’m the type to jot down my feelings if I experience something special. These help me when I write letters or want to say something to ATINY because I’m able to better word my feelings.” San, meanwhile, cites legendary South Korean poet 나 태주 (Ra Tae-joo) as an influence. “I love poems too — I’ve been writing my own but I keep them to myself,” he says. “They can be about my feelings on a certain day, the weather, objects or characters. I’m able to lay out my feelings like this.”

Now in their fourth year, ATEEZ remain as set on the idea of constantly challenging themselves as they were when they were hungry rookies. Take Jongho for example, whose rich, gut-punching vibrato forms the backbone of many of their songs. When he listened back to The World EP.1: Movement for the first time, he admits that he was “worried because my voice was used in ways that I hadn’t tried before, and I wondered how my vocal colour was going to fit”. He sat down with their producers and worked through “how we could still make it still an ATEEZ song and match my tone, while trying something new. I’ve gained more confidence — it makes me want to do better for all the albums to come.”

Hongjoong laughs. “It means our next albums are, uh, a big thing,” he reveals, knowingly. “There are so many good K-pop and pop stars that if we want to go higher, we have to have more good songs and try other genres, too.” But even as he muses on ATEEZ’ continuing expansion, the idea of one day becoming ‘too big to fail’ doesn’t appeal to him. “No, absolutely not that,” he says, gaze steady. “I want ATINY to be able to tell us if something is bad. I like it when they do this because we don’t want to just give them our popularity. I want to give them good quality, not just a song or a video or a performance.” Does the fact that music is subjective; that no single song can please everybody, bring some comfort? “We try to find the middle ground,” Hongjoong says. “The first thing to note is that if we think it’s really great but someone else says that they think it’s trash, then we don’t really care what they think. But when we’re unsure and questioning and someone says, ‘Yeah, it’s bad’, then ok, we go back to square one.”

The thought of ATEEZ honing their creative output through repeated baptisms of fire might well upset some fans, but the band are not only accustomed to the fame game’s highs and lows but wholly pragmatic in the face of its shadows. So when Wooyoung says he’s aware of “many people” who openly disparage their music, Hongjoong shrugs a little as he responds. “Yeah, there are. We talk about this a lot together, but if there are many more haters than before, it just means we’re more popular than before,” he reasons.

The group finds positive equilibrium via a heartfelt focus on ATINY, and all that comes with being an idol group who are years into a very successful career. “When we look at line-ups now, we’re closing the show,” says Wooyoung. “And as we perform, we see the other artists watching us, and we realise we have more responsibility. Firstly to ATINY, who have been loving us and supporting us from the start, but there’s also a responsibility to spread K-pop and Korean culture because we’re travelling around the world as Korean artists.”

One of ATEEZ many dualities is that while they have big, burning aspirations — Billboard charts, Grammys, performing at the Super Bowl — that make them look at each other starry-eyed, some of their ambitions are precious in a different way: they’re simpler, more immediate. “I’d like to be happier than the day before,” says Mingi. “And I want for us to never change our sincerity toward music and gratitude to our fans,” adds Seonghwa. This is echoed by San, who adds that ultimately, “I’d be satisfied if ATEEZ’ name came up when someone asks who the coolest artist is at the end of the year.”

“I want to make more events with ATINY,” says Hongjoong. “That’s a goal for this year because we always miss them and they always miss us.” Jongho, sitting in the middle of the group, is smiling. He’s been manifesting a more personal ambition. “By next winter I want to be able to snowboard,” he says. “I want to buy my own board, go down the mountain and not fall.”

#ateez #m: all #type: interview #content: i d #era: the fellowship : break the wall #type: article

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theculturedmarxist · 1 year ago

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The Tumblr Files

Tumblr has a habit of disappearing blogs that it seems to find objectionable. Alas, if only they were full of reactionary content they'd probably have been allowed to stay, but instead they're Leftists of various stripes, which makes them uncomfortable for the owners of Tumblr at best and dangerous at worst.

Regardless of what you think of Musk's purchase of Twitter, one good thing that came out of it was the release of the Twitter Files. Therein we learned of just how closely social media companies like Facebook and Twitter have integrated with the US government and its spying agencies.

Does the FBI have a direct line to TumblrHQ? I can't say for certain. I haven't seen any evidence of it yet, but Tumblr is a massive platform with a lot of reach. Its size alone makes it a prime target for surveillance if only because were the community left to its own devices it might start to develop its own ideas about how the world worked contrary to the bourgeois narrative, or what the US government currently calls "misinformation."

Some things to consider:

First, in the wake of the Democrats' 2016 presidential loss, the Professional-Managerial Class which make up its primary constituencies freaked out. The development of Russiagate was the response. This wasn't just about Trump winning the presidency though. The source of bourgeois terror was that the internet was an unregulated source of information, and people were starting to get the "wrong" ideas, as evidenced by Bernie Sanders immense popularity at the time, and Trump's victory.

Second, Russiagate triggered a concerted spy agency response to root out basically nonexistent "Russian influence" on social media "promoting misinformation." Pressure was put onto SM companies to "do something about Russian election meddling." Twitter's internal research found that there was basically nothing of the kind. This was the wrong answer, so Twitter was compelled by propaganda outlets and the threat of expensive legislation to "do something," and that something was to basically turn over its moderation process to US spy agencies.

30.“REPORTERS NOW KNOW THIS IS A MODEL THAT WORKS” This cycle – threatened legislation, wedded to scare headlines pushed by congressional/intel sources, followed by Twitter caving to moderation asks – would later be formalized in partnerships with federal law enforcement. 31.Twitter soon settled on its future posture. In public, it removed content “at our sole discretion.” Privately, they would “off-board” anything “identified by the U.S.. intelligence community as a state-sponsored entity conducting cyber-operations.” 32.Twitter let the “USIC” into its moderation process. It would not leave. Wrote Crowell, in an email to the company’s leaders: “We will not be reverting to the status quo.”

Why is this relevant to Tumblr? Because it has a large, influential community, which alone would necessitate its surveillance if not control, but especially because Tumblr is hemorrhaging money and is failing to gain ground against its competitors.

TechCrunch reported that CEO Matt Mullenweg spilled the beans during the Q&A, which was cohosted by COO Zandy Ring and attended by a meager 800 users, despite being plastered across every Tumblr account’s dashboard. According to Mullenweg, the platform is spending $30 million more than it’s making as it tries to desperately cling to relevance in its fight against Instagram and TikTok. Moreover, COO Ring explained that the platform is not seeing much of an increase in its userbase.

“People have this impression that we have massive growth right now, and we really don’t,” Ring said during the Q&A.

None of this necessarily means that it's Langley that's getting Leftist users booted off the platform. It could merely be personal biases on the part of the staff, against transsexuals, against pro-Palestinian activists. It does seem arbitrary and capricious enough. If the goal was, say, combating antisemitism by banning pro-Palestinian users, would there be so many fascists and outright Nazis on tumblr? Why does it seem like the majority of those that get banned just happen to be on the side which opposes imperialist Western narratives?

In any case, this markedly underscores that if the Western Left wants any hope of surviving on the web, it can't rely on corporate resources to do so.

#internet censorship #twitter files #spy agencies #social media

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blorbocedes · 2 years ago

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13 and 24 please. Bring the drama blorbie!!!!!

24. topic that brings up the most rancid discourse

'max verstappen's A+ plus parenting' I hate this tag so much. death to this tag. fandom does not know how to talk about abuse, parental relationships and any of that with the nuance it deserves. people who hate him use it as a punchline, people who love him (who use this tag in fics) try to define him by his trauma it's just blergh. i think Abu Dhabi 21 as well, is a can of rancidity

13. worst blorboficiation

i was gonna say seb just cause newer fandom's memory of him is shaped by aston martin years and his friendship with lewis and doesn't reflect his redbull and ferrari legacy of cuntism (see back: defanged) and that fandom propping him up as a leftist cycling ecoterrorist like he's always been that person not cause he stopped winning and remembered he had kids...... like my guy drove for shell and aramco for Yearssss 😭 (like this growth is welcome and people can change for the better, but it is also recent. my guy had a private redbull helicopter 😭)

BUT I think there's a worse offender... and that's what chirlies do to charles... the way he's described as tiny and petite and feminine in fics cause that's the dominant 2020 narrative when charles is literally Big And Broad 😭 the emo sad boyfication of charles (which charles does play into, he's savvy of his public image too), but some chirlies take it a step further and have swallowed their own predestined propaganda monaco I love you and somebody you'll love me back, ferrari catholicism the god piety worship Pope Francis WDC... and there comes this idea of a charles who is MISERABLE and SHACKLED to Ferrari in a Stockholm Syndrome and he can NEVER leave........ when charles is very much a ferrariboo and happy to be there. not to mention the fucking tragedy pornification of charles, the countless tiktok edits and saying he's filling out jules/his dad's dream etc like let him be his own person..... I think charles is so interesting but fandom will either make him both the greatest ferrari driver since schumie and also someone who apparently has No agency and is getting fucked over by his team, his teammate, his teammate's dad, etc etc...

#okay I'll make this one especially spicy for you #fandom spicy takes ask game #blorbocedes ask #charlie boy

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apcseo · 1 month ago

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Best Video Ad Campaign Agencies in India: Experts Crafting Impactful Stories

In the fast-evolving world of marketing, video advertisements have emerged as one of the most effective ways to engage consumers, communicate brand messages, and drive business growth. With the increasing consumption of video content across various platforms like YouTube, Instagram, and TikTok, the demand for compelling video ad campaigns has skyrocketed. In India, several agencies are leading the charge, creating impactful stories that resonate with audiences and elevate brands. This article highlights some of the best video ad campaign agencies in India that have proven their expertise in crafting narratives that captivate and convert.

1. The Glitch

Location: Mumbai

One of the most well-known digital agencies in India, The Glitch has been instrumental in creating some of the most innovative and memorable video ad campaigns. The agency's approach focuses on merging creativity with technology to tell engaging stories across digital and social media platforms. From brand storytelling to high-end production, The Glitch has worked with global brands like Netflix, Starbucks, and Zomato, producing content that not only grabs attention but also builds long-lasting relationships with audiences.

Notable Campaigns:

Netflix: "The Crown" Season 3 Launch

Zomato: "Woot Woot" Campaign

2. Talented

Location: Delhi & Mumbai

Talented is known for its versatility and a deep understanding of audience psychology. This agency creates videos that are not just visually stunning but are also strategically crafted to engage and convert. With a focus on digital and influencer-driven content, Talented has helped brands like Pepsi, Reliance Jio, and ITC push the boundaries of traditional advertising through interactive and shareable video content.

Notable Campaigns:

Pepsi: "Live For Now"

Reliance Jio: "India ka Tyohaar"

3. Leo Burnett India

Location: Mumbai

As a global creative agency with a strong presence in India, Leo Burnett is synonymous with iconic advertising. Their video ad campaigns focus on creating deep emotional connections with the audience, blending creativity with consumer insights. With a history of working with renowned brands such as McDonald's, Amazon, and Tata Motors, Leo Burnett India’s video campaigns have become benchmarks in the industry.

Notable Campaigns:

Tata Motors: "The Bold New SUV"

Amazon India: "The Great Indian Shopping Festival"

4. Famous Innovations

Location: Mumbai

Famous Innovations is another key player in the Indian advertising industry, known for its unique approach to storytelling. This agency specializes in creating innovative video content that challenges conventional advertising formats. Famous Innovations creates ad campaigns that are visually appealing, entertaining, and thought-provoking, making it an ideal choice for brands looking to stand out in the crowded Indian market.

Notable Campaigns:

Bajaj Allianz: "Bajali Ke Saath Ho Jaaye"

Kissan: "Kissan Purani Dosti Nayi Dosti"

5. Dentsu Webchutney

Location: Delhi & Mumbai

Dentsu Webchutney is one of India’s leading digital marketing agencies that specialize in crafting viral video ad campaigns. With an emphasis on creativity and digital-first strategies, the agency creates videos that resonate deeply with the online audience. Dentsu Webchutney’s ability to tap into pop culture and contemporary trends has made them the go-to agency for brands looking to make a bold impact in the digital space.

Notable Campaigns:

Swiggy: "Swiggy Voice"

Coca-Cola: "Share a Coke"

6. Apppl Combine

Location: Delhi

Apppl Combine is known for creating engaging and innovative campaigns that resonate with diverse audiences. They have worked with a range of brands to develop impactful video ad campaigns that not only highlight the key product features but also strike an emotional chord with consumers. One of their notable achievements was the launch of the “Best Buy Sale” campaign for Kerovit. This exclusive brand property featured four high-impact ad films and extensive digital display ads, which effectively highlighted Kerovit’s unique selling propositions. The success of this campaign helped to drive consumer interest, reinforcing Kerovit’s value proposition during seasonal promotions.

Encouraged by the success of the first phase, Apppl Combine introduced the "Gift a Bathroom" campaign in its second phase. This innovative campaign became a breakthrough property, emotionally resonating with audiences by emphasizing the concept of gifting a bathroom. The agency produced seven ad films in multiple regional languages including Hindi, Malayalam, Tamil, Telugu, Bangla, Gujarati, and Marathi. This campaign not only captured attention but also strengthened Kerovit’s position as a brand that understands the personal needs of its consumers.

Notable Campaigns:

Kerovit: “Best Buy Sale” Campaign

Kerovit: “Gift a Bathroom” Campaign

7. BBDO India

Location: Mumbai

BBDO is renowned for its ability to craft emotionally resonant stories that tug at the heartstrings of viewers. The agency's powerful video campaigns often highlight the emotional aspects of brands, delivering messages that leave a lasting impact on the audience. From multinational corporations to local brands, BBDO’s campaigns reflect high-quality production values and an innate understanding of consumer behavior.

Notable Campaigns:

PepsiCo: "Welcome to the World of Real Magic"

Airtel: "Har Ek Friend Zaroori Hota Hai"

8. Ogilvy India

Location: Mumbai & Bengaluru

Ogilvy India is a creative powerhouse with a strong legacy of creating iconic campaigns. Their video advertising approach blends storytelling, humor, and social relevance to ensure that the message is both entertaining and impactful. Ogilvy’s commitment to innovative video content is seen in their work with brands like Dove, Ford, and KFC, where they craft stories that are relatable and memorable.

Notable Campaigns:

Dove: "Real Beauty"

KFC: "Finger Lickin' Good"

9. Schbang

Location: Mumbai

Schbang is a creative agency known for its fresh and cutting-edge approach to digital marketing. Their video ad campaigns are often centered around the idea of “changing the game,” bringing new ideas and formats to the forefront. Schbang’s strength lies in its ability to produce content that appeals to the younger demographic while staying true to brand values.

Notable Campaigns:

Wink: "Smartphone with a Heart"

SodaBottleOpenerWala: "Good Old Parsi Humor"

10. Mindshare India

Location: Mumbai

Mindshare is a global media agency with a strong presence in India, known for delivering impactful video advertising that drives both brand visibility and sales. Their focus on data-driven insights helps brands create video content that speaks directly to their target audience, optimizing content for various platforms and ensuring maximum reach.

Notable Campaigns:

Unilever: "Ariel Share the Load"

Sony Entertainment Television: "The Voice India"

11. Enormous Brands

Location: Mumbai

Enormous Brands takes a distinctive approach to video marketing by combining creativity with the brand's core values. They focus on creating memorable stories that are not just aesthetically pleasing but also highly strategic, helping brands build a deep connection with their customers. Enormous Brands' work has often been recognized for its exceptional creativity and quality.

Notable Campaigns:

Chumbak: "Find Your Happy"

Asian Paints: "Har Ghar Kuch Kehta Hai"

Conclusion

India’s video ad campaign landscape is filled with creative agencies that are pushing the envelope to craft content that not only entertains but also drives business growth. From emotional storytelling to bold, unconventional approaches, these agencies have proven their ability to adapt to the ever-changing digital marketing landscape. Whether you're a global brand looking to make an impact in India or a local business aiming to expand your reach, collaborating with these leading agencies can help you create powerful video campaigns that connect with your audience and leave a lasting impression.

This post was originally published on: LinkedIn

#kerovit ad campaign #Kerovit Ad Agency #Kerovit Advertising Agency #kerovit marketing agency #kajaria kerovit marketing agency #Video Ad Campaign #Video Ad Campaign Agencies in India #apppl combine

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thesunshineriptide · 11 months ago

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BABY!!!!!

Yuu being a soulless entity??

See my Overblot idea for Yuu was either the Blot accumulation not merging with Yuu’s body and becoming a layer on top.

Another idea

Yuu being a vessel for player, and when Player gets sucked in game, the vessel gets unstable and overblots that way

I actually did write an overblot Yuu oneshot/headcanons once and it's somewhere on this blog. I like the idea a lot. In my version, the blot wasn't like a layer on top but an illness/infection attacking its host. I don't think I fully explained it all so for any curious: here's overblot Yuu headcanons attatched to the overblot prefect thing.

Note: writing this part after the head-canons, realized that this kind of sounds like one of the infection aus going on over on TikTok. It wasn't intended to be that way but if anyone wants to use any of this concept for one of those, go ahead.

- The overblot injuries leave black blot stains that slowly deep deeper under the skin. Due to its nature being inky, the body attacks it to fight it off, cells trying to swallow the ink and then dying in the process, but unlike a tattoo, blot infested cells don't decay and instead continue to spread into the bloodstream

- and individual infected with blot becomes more volatile and can experience symptoms of hallucinations, memory issues, fatigue, improper circulation, insomnia, night terrors, dissociation, changes in personality, issues with verbal skills, headaches, nausea, and cystic growths.

- the infected May start mimicking behaviors of the person who overblotted prior to them. For instance, if the overblotted has certain triggers, they may find themself reacting to those, if the individual is abrasive, the infected may mimic that behavior, they may have cravings matching that of the individual, etc.

- the infected May find they can use slight amounts of magic, but that it can cause the staining to spread, lead to physical traits of the prior overblotter to appear, etc. It is highly unstable

- there is no publicly known cure for blot infection, but there are rumours that there is one. Certain government officials may be in contact with the agency who specialized in blot treatment and research to pick up an infected

- if the infected overblots, they can cause the infection to spread. The mundane are, in particular, weak to blot infection, though mages are not exempt either.

- Magestones can help slow the infection, as the crystal will remove as much blot as possible. It is not a cure.

- If cured of the infection, the victim does not remember what happened. Whether this is due to the illness or due to other circumstances, it is unknown and unquestioned.

- reminding the victim of their time while ill can cause the infection to return.

...now as for the vessel concept... 😈

I Can imagine that waking up one day to find that you can't control your own body would be terrifying for Yuu. Beyond the stress of the bullshit going on to wake up here as Yuu, as well as the bullshit going on with the entity currently occupying their body as well, I'd imagine that anyone would overblot. Imagine you're Yuu for a second - you wake up in a magic world with magic people and a magic cat and a bird guy shoving you into a house that's in slightly better condition than a literal crack den, then you wake up one day and find that you can't control your body anymore, there's someone else pretending to be you to all these people, you keep getting in fights despite not wanting you, you want to go home and you can't, you're starving because bird man doesn't want to do his job, and you're possessed by what you think is basically a demon.

Now, granted, canonically possession causes memory gaps for the possessed in twisted wonderland, but granted those are people with souls that get pushed down and quieted, and the ones possessing them are ghosts. It's a little different when you don't have a soul and someone else does.

Yuu would fucking snap at one point. "Oh? I Can finally Fucking go home?! Wait, which home? Mine or this goddamn demon's?! Why are we going there. WHY ARE WE HERE. MALLEUS. MALLEUS WHAT THE FU-"

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aynjeul · 10 months ago

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Wisdom Kaye is a popular model, video creator, and fashion influencer well-known for his unique style and presence on social media. In January 2020, he created his TikTok, @wisdm8, to express his love and creativity for fashion, all while studying electrical engineering in college. Amid the pandemic, Wisdom Kaye was able to achieve social media fame with his rendition of the ‘Vogue Challenge’ and managed to accumulate 2 million followers within 6 months (Allaire, 2020). However, Wisdom Kaye initially tried gaining a fan base through Twitter. It was on that platform that he decided to instead focus primarily on video content, which brought him to TikTok and began his new career, eventually becoming signed with IMG. He received opportunities, working with brands including Gucci, Dior, and Coach, serving as a guest judge on Project Runway, and received back-to-back Streamy Awards (Forbes, 2023).

“The fashion community is not the biggest on TikTok. Dancing and comedy make up the majority of the platform, and within the fashion community, there are not that many male fashion creators. What sets my page apart, and what has contributed to my growth, is that I show the limitlessness of fashion.” - Wisdom Kaye, (Allaire, 2020).

As of now, Wisdom Kaye has 9.4 million followers on TikTok and has been labelled, “Best Dressed Guy on TikTok,” by Vogue. At the age of 21, Forbes included Kaye in the ‘30 Under 30: Art & Style’ for 2023. In just four years, Wisdom Kaye was able to redirect his aspirations in life by expressing his creativity and using social media to its fullest potential.

When deconstructing Kaye’s rise to fame, the democratization of the web has played a crucial role. It has made it easier for individuals like Wisdom Kaye to share their content with a global audience. Social media platforms have lowered barriers to entry, allowing anyone with an internet connection to create and distribute content. The accessibility and visibility of modern-day technology provide a level playing field for content creators, regardless of who they are and where they come from. Kaye showed his distinctive fashion sense without traditional gatekeepers like fashion magazines or modelling agencies.

Social media can also foster communities of people who share interests in fashion. Wisdom Kaye was able to connect with fellow fashion enthusiasts, engage with his audience, and build a loyal fanbase. The direct interaction and feedback from his followers fuel the growing popularity of his platforms.

“Truth be told, I have so many ideas that I have yet to do, because my fans are always giving me new ones! I have a note sheet on my phone littered with ideas that I’ve come up with that I am yet to start on, because they always give such good ideas. But of course, as a creator by heart, I also do my own thing.” - Wisdom Kaye, (Allaire, 2020).

The democratization of the web has made it easier for content to go viral and reach a massive audience within a short period of time. Including Wisdom Kaye’s eye-catching fashion looks, the ability to keep up with trends and challenges helps increase his exposure thus contributing to his fame. Overall, with the tools, platforms, and opportunities for connections, Wisdom Kaye achieved fame in the fashion industry with the power of social media.

References

Allaire, C. (2020, July 5). Wisdom Kaye is the best-dressed guy on Tiktok. Vogue.

https://www.vogue.com/article/wisdom-kaye-tik-tok-fashion-interview

Forbes Magazine. (2023). Wisdom Kaye. Forbes. https://www.forbes.com/profile/wisdom-kaye/sh=54ecf9265a12

https://www.forbes.com/profile/wisdom-kaye/sh=54ecf9265a12

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