#blog marketing | Explore Tumblr posts and blogs

trafficvina · 1 year ago

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7 blog về Marketing hay và đáng đọc nhất

Với mình, blog là một công cụ tuyệt vời giúp mình tiếp cận thông tin, kiến thức và các tips hữu ích về một vấn đề nào đó. Đặc biệt, mình rất thích theo dõi các blog kinh doanh và blog marketing bởi nó như một kho tàng tri thức khổng lồ, vừa cô đọng vừa thực tiễn giúp mình hiểu nhanh chóng về điều mình đang tìm kiếm. Không phải ai cũng có cơ hội tiếp xúc với những mentor thực thụ để được truyền đạt kinh nghiệm, nhưng blog ra đời, nó giúp mình có thể “diện kiến các tiền bối” mà không cần gặp mặt trực tiếp.

7 blog kinh doanh và marketing chất lượng bạn nên theo dõi

Mình theo dõi rất nhiều trang blog về kinh doanh và marketing, sau một thời gian, mình xin đúc kết một số trang mà bạn phải follow ngay và luôn. Dưới đây là 7 blog kinh doanh và blog marketing, theo mình nghĩ, là “chất” nhất được tổng hợp với đa dạng các chủ đề khác nhau (lưu ý thứ tự các trang blog chỉ mang ý nghĩa liệt kê, chứ không phải thứ hạng).

1. Thạch Phạm

Blog: thachpham.com

Chủ đề: WordPress, Digital Marketing

Hiện tại, blog của anh Thạch hoạt động như một website cung cấp các kiến thức sử dụng mã nguồn mở WordPress để tự làm website với nhiều nhu cầu khác nhau như webblog, tin tức, trang bán hàng, giới thiệu doanh nghiệp. Ngoài WordPress, ThachPham Blog cũng cung cấp các thông tin, các bài hướng dẫn liên quan đến lĩnh vực làm website như sử dụng máy chủ, giới thiệu các công cụ có ích, đánh giá dịch vụ host, SEO.

Mục tiêu chính của blog được thành lập ra là để chia sẻ những thông tin mà người sáng lập biết và muốn chia sẻ. Đồng thời blog luôn hoan nghênh và đón nhận các đóng góp của những thành viên để cung cấp bài viết đa dạng hơn.

2. Trần Tuấn Sang

Blog: trantuansang.com

Chủ đề: Kinh tế, Kinh doanh, Marketing, Kênh phân phối

Trần Tuấn Sang, có thể nói, là một cánh hữu gộc. Anh chịu ảnh hưởng nhiều nhất từ nhà kinh tế học lỗi lạc người Mỹ Milton Friedman, do đó các bài viết kinh tế của anh thường xoay quanh các chủ đề về kinh tế thị trường, chính phủ giới hạn, nền pháp quyền, các quyền tự do kinh doanh, tự do nhân công và tự do cá nhân.

Cá nhân mình nghĩ kinh doanh và kinh tế có một mối liên hệ mật thiết với nhau. Những chia sẻ về kinh doanh và marketing trên blog Trần Tuấn Sang rất đáng tham khảo và có giá trị thực tiễn cao, nên khá phù hợp với một người đam mê marketing thực chiến như mình.

Điều đặc biệt trên blog của Trần Tuấn Sang khiến mình đưa vào danh sách này là những bài viết của anh thường có một góc nhìn mới mẻ, cách tiếp cận rất lạ và nó làm nên sự độc đáo, thú vị trong mọi bài viết của anh.

3. Thế Khương – Kiếm Tiền Center

Blog: kiemtiencenter.com

Chủ đề: MMO, Digital Marketing, Startup, Kinh doanh, Affiliate

Về Thế Khương, sở trường của anh là Inbound Marketing và Personal Branding. Anh có kinh nghiệm về content marketing, free & paid traffic, UX/UI, có sở thích viết lách, nghiên cứu về business & thường xuyên du lịch. Năm 2019, anh sáng lập của Ktcity, một nền tảng học về kinh doanh, MMO, tiếp thị chất lượng nhất Việt Nam với hơn 50,000 thành viên đang tham gia học tập

Blog Kiemtiencenter của anh được khởi tạo từ năm 2013, bắt đầu bằng việc viết lách chia sẻ những thứ Thế Khương học được trong quá trình làm MMO & kỹ năng kinh doanh, digital marketing. Các nội dung trên blog đều nhắm đến tiêu chí cốt lõi: dễ hiểu, phù hợp xu hướng & mang tính chất thực tiễn.

Đây là kênh cực kì phù hợp cho những bạn trẻ đam mê việc tạo thu nhập tại nhà. Chỉ cần 1 chiếc máy tính, 1 vài kỹ năng, 1 tư duy tốt, bạn sẽ làm được mọi thứ - đó chính là thông điệp mà blog mang lại.

4. Jenny Lý Hà Thu

Blog: lyhathu.com

Chủ đề: Business coaching, Business management, Customer service, Marketing, Leadership, Company culture

Với một background xịn xò như vậy, những bài viết của Jenny Lý Hà Thu cũng chất lượng không kém. Bạn sẽ tìm thấy trong đó những chia sẻ giúp các doanh nghiệp phát triển vượt trội về dịch vụ khách hàng và đòn bẩy hệ thống. Chị Jenny là nữ chuyên gia quản trị tâm thế đầu tiên tại Việt Nam áp dụng Khoa học NLP (Neuro Linguistic Programming/ Lập trình Ngôn ngữ Nơ-ron) vào đào tạo doanh nghiệp. Nhờ đó nắm bắt thực trạng doanh nghiệp, biến những điều phức tạp trở nên đơn giản, giúp các chủ doanh nghiệp dễ dàng thực hiện từng bước nhỏ để mang đến thay đổi lớn.

5. Tomorrow Marketers

Blog: blog.tomorrowmarketers.org

Chủ đề: Brand marketing, Trade marketing, Data analysis, Content marketing, Digital marketing

Ngoài ra, bạn cũng có thể tìm thấy những video TM Talk với những chia sẻ hữu ích từ những người thành công trong nghề - những mentor thực sự trong marketing thực chiến.

6. Brands Vietnam

Blog: brandsvietnam.com

Chủ đề: Marketing, Bán hàng, Quản trị doanh nghiệp, Kinh tế, Thương mại, Quảng cáo, Sáng tạo & truyền thông, Digital marketing.

Marketing / Xây dựng thương hiệu

Bán hàng / Kinh doanh

Quản trị Doanh nghiệp

Kinh tế / Thương mại

Quảng cáo, Sáng tạo & Truyền thông

Thiết kế Thương hiệu

Truyền thông số (Digital Marketing)

Brands Vietnam ra đời với sứ mệnh mang lại một nền tảng sẻ chia tri thức, dữ liệu và kết nối trong ngành nhằm giúp marketers thăng tiến nghề nghiệp và xây dựng những thương hiệu thành công. Brands Vietnam tin vào một tầm nhìn đơn giản: với kiến thức và kỹ năng tốt hơn sẽ cho ra đời những thương hiệu và doanh nghiệp tốt hơn, từ đó tạo ra những giá trị lớn hơn cho người tiêu dùng và xã hội.

7. CASK

Blog: cask.vn/blog

Chủ đề: Brand, Trade marketing, Sale, Business, Technolgy, Operation.

Tại sao mình lại đưa CASK vào danh sách này? Vì đặc biệt blog của CASK có nhiều bài viết liên quan đến tài chính doanh nghiệp và marketing audit khá hay, do đó cực kì hữu ích cho những ai muốn sử dụng số liệu để phân tích và hoạch định chiến lược/kế hoạch.

Trên đây là những blog kinh doanh và blog marketing hay và chất lượng nhất theo đánh giá của mình. Thực ra, “anh tài hào kiệt” trên thế gian này còn rất nhiều, nhưng nội hàm bài viết này khó có thể liệt kê hết được. Nếu bạn biết những cái tên xuất chúng nào nhưng chưa được đề cập trong bài viết thì comment cho mọi người cùng biết nhé!

Xem thêm về nội dung tiềm năng ngành Marketing trong 2023

#blog marketing

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mostlysignssomeportents · 2 days ago

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Proud to be a blockhead

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/12/21/blockheads-r-us/#vocational-awe

This is my last Pluralistic post of the year, and rather than round up my most successful posts of the year, I figured I'd write a little about why it's impossible for me to do that, and why that is by design, and what that says about the arts, monopolies, and creative labor markets.

I started Pluralistic nearly five years ago, and from the outset, I was adamant that I wouldn't measure my success through quantitative measures. The canonical version of Pluralistic – the one that lives at pluralistic.net – has no metrics, no analytics, no logs, and no tracking. I don't know who visits the site. I don't know how many people visit the site. I don't know which posts are most popular, and which ones are the least popular. I can't know any of that.

The other versions of Pluralistic are less ascetic, but only because there's no way for me to turn off some metrics on those channels. The Mailman service that delivers the (tracker-free) email version of Pluralistic necessarily has a system for telling me how many subscribers I have, but I have never looked at that number, and have no intention of doing so. I have turned off notifications when someone signs up for the list, or resigns from it.

The commercial, surveillance-heavy channels for Pluralistic – Tumblr, Twitter – have a lot of metrics, but again, I don't consult them. Medium and Mastodon have some metrics, and again, I just pretend they don't exist.

What do I pay attention to? The qualitative impacts of my writing. Comments. Replies. Emails. Other bloggers who discuss it, or discussions on Metafilter, Slashdot, Reddit and Hacker News. That stuff matters to me a lot because I write for two reasons, which are, in order: to work out my own thinking, and; to influence other peoples' thinking.

Writing is a cognitive prosthesis for me. Working things out on the page helps me work things out in my life. And, of course, working things out on the page helps me work more things out on the page. Writing begets writing:

https://pluralistic.net/2021/05/09/the-memex-method/

Honestly, that is sufficient. Not in the sense that writing, without being read, would make me happy or fulfilled. Being read and being part of a community and a conversation matters a lot to me. But the very act of writing is so important to me that even if no one read me, I would still write.

This is a thing that writers aren't supposed to admit. As I wrote on this blog's fourth anniversary, the most laughably false statement about writing ever uttered is Samuel Johnson's notorious "No man but a blockhead ever wrote but for money":

https://pluralistic.net/2024/02/20/fore/#synthesis

Making art is not an "economically rational" activity. Neither is attempting to persuade other people to your point of view. These activities are not merely intrinsically satisfying, they are also necessary, at least for many of us. The long, stupid fight about copyright that started in the Napster era has rarely acknowledged this, nor has it grappled with the implications of it. On the one hand, you have copyright maximalists who say totally absurd things like, "If you don't pay for art, no one will make art, and art will disappear." This is one of those radioactively false statements whose falsity is so glaring that it can be seen from orbit.

But on the other hand, you know who knows this fact very well? The corporations that pay creative workers. Movie studios, record labels, publishers, games studios: they all know that they are in possession of a workforce that has to make art, and will continue to do so, paycheck or not, until someone pokes their eyes out or breaks their fingers. People make art because it matters to them, and this trait makes workers terribly exploitable. As Fobazi Ettarh writes in her seminal paper on "vocational awe," workers who care about their jobs are at a huge disadvantage in labor markets. Teachers, librarians, nurses, and yes, artists, are all motivated by a sense of mission that often trumps their own self-interest and well-being and their bosses know it:

https://www.inthelibrarywiththeleadpipe.org/2018/vocational-awe/

One of the most important ideas in David Graeber's magisterial book Bullshit Jobs is that the ground state of labor is to do a job that you are proud of and that matters to you, but late-stage capitalist alienation has gotten so grotesque that some people will actually sneer at the idea that, say, teachers should be well compensated: "Why should you get a living wage – isn't the satisfaction of helping children payment enough?"

https://memex.craphound.com/2018/06/20/david-graebers-bullshit-jobs-why-does-the-economy-sustain-jobs-that-no-one-values/

These are the most salient facts of the copyright fight: creativity is a non-economic activity, and this makes creative workers extremely vulnerable to exploitation. People make art because they have to. As Marx was finishing Kapital, he was often stuck working from home, having pawned his trousers so he could keep writing. The fact that artists don't respond rationally to economic incentives doesn't mean they should starve to death. Art – like nursing, teaching and librarianship – is necessary for human thriving.

No, the implication of the economic irrationality of vocational awe is this: the only tool that can secure economic justice for workers who truly can't help but do their jobs is solidarity. Creative workers need to be in solidarity with one another, and with our audiences – and, often, with the other workers at the corporations who bring our work to market. We are all class allies locked in struggle with the owners of both the entertainment companies and the technology companies that sit between us and our audiences (this is the thesis of Rebecca Giblin's and my 2022 book Chokepoint Capitalism):

https://chokepointcapitalism.com/

The idea of artistic solidarity is an old and important one. Victor Hugo, creator of the first copyright treaty – the Berne Convention – wrote movingly about how the point of securing rights for creators wasn't to allow their biological children to exploit their work after their death, but rather, to ensure that the creative successors of artists could build on their forebears' accomplishments. Hugo – like any other artist who has a shred of honesty and has thought about the subject for more than ten seconds – knew that he was part of a creative community and tradition, one composed of readers and writers and critics and publishing workers, and that this was a community and a tradition worth fighting for and protecting.

One of the most important and memorable interviews Rebecca and I did for our book was with Liz Pelly, one of the sharpest critics of Spotify (our chapter about how Spotify steals from musicians is the only part of the audiobook available on Spotify itself – a "Spotify Exclusive"!):

https://open.spotify.com/show/7oLW9ANweI01CVbZUyH4Xg

Pelly has just published a major, important new book about Spotify's ripoffs, called Mood Machine:

https://www.simonandschuster.com/books/Mood-Machine/Liz-Pelly/9781668083505

A long article in Harper's unpacks one of the core mechanics at the heart of Spotify's systematic theft from creative workers: the use of "ghost artists," whose generic music is cheaper than real music, which is why Spotify crams it into their playlists:

https://harpers.org/archive/2025/01/the-ghosts-in-the-machine-liz-pelly-spotify-musicians/

The subject of Ghost Artists has long been shrouded in mystery and ardent – but highly selective – denials from Spotify itself. In her article – which features leaked internal chats from Spotify – Pelly gets to the heart of the matter. Ghost artists are musicians who are recruited by shadowy companies that offer flat fees for composing and performing inoffensive muzak that can fade into the background. This is wholesaled to Spotify, which crams it into wildly popular playlists of music that people put on while they're doing something else ("Deep Focus," "100% Lounge," "Bossa Nova Dinner," "Cocktail Jazz," "Deep Sleep," "Morning Stretch") and might therefore settle for an inferior product.

Spotify calls this "Perfect Fit Music" and it's the pink slime of music, an extruded, musiclike content that plugs a music-shaped hole in your life, without performing the communicative and aesthetic job that real music exists for.

After many dead-end leads with people involved in the musical pink slime industry, Pelly finally locates a musician who's willing to speak anonymously about his work (he asks for anonymity because he relies on the pittances he receives for making pink slime to survive). This jazz musician knows very little about where the music he's commissioned to produce ends up, which is by design. The musical pink slime industry, like all sleaze industries, is shrouded in the secrecy sought by bosses who know that they're running a racket they should be ashamed of.

The anonymous musician composes a stack of compositions on his couch, then goes into a studio for a series of one-take recordings. There's usually a rep from the PFC pink slime industry there, and the rep's feedback is always "play simpler." As the anonymous musician explains:

That’s definitely the thing: nothing that could be even remotely challenging or offensive, really. The goal, for sure, is to be as milquetoast as possible.

This source calls the arrangement "shameful." Another musician Pelly spoke to said "it felt unethical, like some kind of money-laundering scheme." The PFC companies say that these composers and performers are just making music, the way anyone might, and releasing it under pseudonyms in a way that "has been popular across mediums for decades." But Pelly's interview subjects told her that they don't consider their work to be art:

It feels like someone is giving you a prompt or a question, and you’re just answering it, whether it’s actually your conviction or not. Nobody I know would ever go into the studio and record music this way.

Artists who are recruited to make new pink slime are given reference links to existing pink slime and ordered to replicate it as closely as possible. The tracks produced this way that do the best are then fed to the next group of musicians to replicate, and so on. It's the musical equivalent of feeding slaughterhouse sweepings to the next generation of livestock, a version of the gag from Catch 22 where a patient in a body-cast has a catheter bag and an IV drip, and once a day a nurse comes and swaps them around.

Pelly reminds us that Spotify was supposed to be an answer to the painful question of the Napster era: how do we pay musicians for their labor? Spotify was sold as a way to bypass the "gatekeepers": the big three labels who own 70% of all recorded music, whose financial maltreatment of artists was seen as moral justification for file sharing ("Why buy the CD if the musician won't see any of the money from it?").

But the way that Spotify secured rights to all the popular music in the world was by handing over big equity stakes in its business to the Big Three labels, and giving them wildly preferential terms that made it impossible for independent musicians and labels to earn more than homeopathic fractions of a penny for each stream, even as Spotify became the one essential conduit for reaching an audience:

https://pluralistic.net/2021/03/16/wage-theft/#excessive-buyer-power

It turns out that getting fans to pay for music has no necessary connection to getting musicians paid. Vocational awe means that the fact that someone has induced a musician to make music doesn't mean that the musician is getting a fair share of what you pay for music. The same goes for every kind of art, and every field where vocational awe plays a role, from nursing to librarianship.

Chokepoint Capitalism tries very hard to grapple with this conundrum; the second half of the book is a series of detailed, shovel-ready policy prescriptions for labor, contract, and copyright reforms that will immediately and profoundly shift the share of income generated by creative labor from bosses to workers.

Which brings me back to this little publishing enterprise of mine, and the fact that I do it for free, and not only that, give it away under a Creative Commons Attribution license that allows you to share and republish it, for money, if you choose:

https://creativecommons.org/licenses/by/4.0/

I am lucky enough that I make a good living from my writing, but I'm also honest enough with myself to know just how much luck was involved with that fact, and insecure enough to live in a state of constant near-terror about what happens when my luck runs out. I came up in science fiction, and I vividly remember the writers I admired whose careers popped like soap-bubbles when Reagan deregulated the retail sector, precipitating a collapse in the grocery stores and pharmacies where "midlist" mass-market paperbacks were sold by the millions across the country:

https://pluralistic.net/2021/07/04/self-publishing/

These writers – the ones who are still alive – are living proof of the fact that you have to break our fingers to get us to stop writing. Some of them haven't had a mainstream publisher in decades, but they're still writing, and self-publishing, or publishing with small presses, and often they're doing the best work of their careers, and almost no one is seeing it, and they're still doing it.

Because we aren't engaged in economically rational activity. We're doing something essential – essential to us, first and foremost, and essential to the audiences and peers our work reaches and changes and challenges.

Pluralistic is, in part, a way for me too face the fear I wake up with every day, that some day, my luck will run out, as it has for nearly all the writers I've ever admired, and to reassure myself that the writing will go on doing what I need it to do for my psyche and my heart even if – when – my career regresses to the mean.

It's a way for me to reaffirm the solidaristic nature of artistic activity, the connection with other writers and other readers (because I am, of course, an avid, constant reader). Commercial fortunes change. Monopolies lay waste to whole sectors and swallow up the livelihoods of people who believe in what they do like a whale straining tons of plankton through its baleen. But solidarity endures. Solidarietatis longa, vita brevis.

Happy New Year folks. See you in 2025.

#pluralistic #writing #vocational awe #fobazi ettarh #liz pelly #spotify #class war #solidarity #ai #economics #homo economicus #labor markets #arts #starving artists #blogging #art

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