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goldenpixelcoop-en · 5 years ago

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WHITE LIGHT

Films and videos by members of The Golden Pixel Cooperative Presented by Katharina Swoboda and Lisa Truttmann

The Golden Pixel Cooperative @ FLUCA July 26, 2019, 9 pm FLUCA – Austrian Cultural Pavilion Hosted by Boris Kostadinov

White Light is made of all colors. As part of the FLUCA 2019 program, the Vienna based “Golden Pixel Cooperative” presents video works by their members. The compilation of film and video works is based on visual associations and understands moving images as a space for artistic self-empowerment. The range of performative and documentary modes of work shows the appropriation of urban and museum spaces as well as landscapes, establishes relationships via visual axes and gestures, and generates new modes of perception through the processing of found material.

6500 (Lisa Truttmann, 2015, 08:43 min.) Rerouting (Luiza Margan, 2016, 07:00 min.) Was ausgestellt wird (Nathalie Koger, 2012, 06:15 min.) The Pool (Marlies Pöschl, 2014, 04:20 min.) Double 8 (Christiana Perschon, 2016, 03:00 min.) the still walker (Miae Son, 2015, 05:08 min.) Untitled (Flying Trees) (Katharina Swoboda, 2013, 03:00 min.) -5°C 40% rF (Simona Obholzer, 2016, 07:22 min.) W O W (Kodak) (Viktoria Schmid, 2018, 02:35 min.) distortion (Lydia Nsiah, 2016, 04:40 min.) die_anderen_bilder (Iris Blauensteiner, 2018, 17:00 min.)

Compiled by Christiana Perschon

6500 Lisa Truttmann, US/AT, 2015 HD Video, 08:43 min. www.lisatruttmann.at

Filmed in Val Verde, California inspiration, support: Behrouz Rae quotes from Ludwig Wittgensteins "Remarks on Colour"

The color temperature of different light sources is measured in Kelvin. 6500 Kelvin corresponds to the value of overcast daylight and is used as a standard for the neutral registration of white surfaces. Unconsciously the human eye adapts to different light conditions, while cameras need adjustment through white balance. 6500 is a video essay on the relativity of words, questioning the application of absolute values in an argument, visualized through a play on colors, their spaces, and their highly subjective perception. Quotes from Ludwig Wittgenstein’s “Remarks on Colour” emphasize this rhythmic flickering and slightly absurd conversation between colour and language.

Rerouting Luiza Margan, AT, 2016 HD Video, 07:00 min. www.luizamargan.net

Camera, sound, editing: Luiza margan Sound, image post production: Miha presker Concept: Luiza Margan with Maya santiago

La Ruta de la Amistad (eng. The Route of Friendship) is a public space project developed along 17km of Mexico City’s southern highway with 22 large scale sculptures made by 22 artists invited from all around the world. The concrete sculptures were completed in 1968 as part of a cultural project in conjunction with the Olympic Games. In the aftermath of the student’s protests of 1968 in Mexico and the student massacre around the time of the Olympics, this sculptural project was veiled in silence and eventually swallowed by expanding urban development, rendering these works almost invisible. The video work (2015-16) by Luiza Margan was developed together with Maya Santiago (MEX) and plays with ways of reinterpreting and appropriating public space, facing failed utopias of modernity and threats of historical amnesia in the rapidly developing city.

Was ausgestellt wird Nathalie Koger, AT, 2012 16mm Transfer, 06:15 min. www.nathaliekoger.net

Circus Artist: Annabel Carberry Light: Mathias Windelberg and Nick Prokesch Camera: Christoph Kolar With kind support of Academy of Fine Arts Vienna, filmkoop Vienna

“Was ausgestellt wird” (What is exhibited) is shot at the Gustinus Ambrosi Museum in Vienna in 2010, for which Koger developed a choreography for the protagonist, a hula hoop dancer. Exploring the exhibition room and Ambrosi’s ambiguous past, the result was a performance that both describes and charts space, setting out to reorder the exhibition room and museum rhetorics. Focusing on this situation, Koger intervenes in the representation of rigid role models, positioning, as a contrast, the dancing body of a spectator that is completely out of keeping with the usual behaviour of museum visitors. In this way, the artist adds a new narrative layer to the history of the museum, one that tells of appropriation and empowerment. (Text: Miriam Kathrein)

The Pool Marlies Pöschl, 2014 HD Video, 04:20 min. www.marliespoeschl.net

Director, concept, editing: Marlies Poeschl Camera: Behdad Avand Amini and Marlies Poeschl Assistant director: Farnaz Jourabchian Translation: Anita Amiri Cast: Anna, Farnam, Sonix

Three women inside an empty pool. Their minimalistic movement oscillates between meditation and resistance – they are training in their fight with an invisible adversary. Who are those women? What holds them together? Who or what is their adversary? Who is their friend?

Double 8 Christiana Perschon, AT, 2016 16mm Transfer, 03:00 min. www.christiana.perschon.at

Kamera: Linda Christanell und Christiana Perschon Hand-processing 16mm Film: Christiana Perschon Scan: Stefanie Zingl,Supported by BKA - Innovative Film Austria, Akademie der Bildenden Künste Wien, Österreichisches Filmmuseum, Ludwig Boltzmann Institut für Geschichte und Gesellschaft, filmkoop Wien Distributed by Light Cone, Paris & CFMDC

Double 8 is an encounter with Linda Christanell, artist of the feminist avant-garde of the 1970s. In a decade of departure - following the male-occupied social criticism of Viennese Actionism - artists like her are questioning the social power and gender relations and claiming their place in the art business and the history of art. In Double 8 the need for interchange with the history of film and its makers becomes tangible: as mutual viewing and being viewed. Two handheld cameras, two spools of double-8 film, four frames: two artists from different generations encounter one another by pointing the camera at each other.

The still walker Miae Son, AT, 2015 HD Video, 05:08 min. www.miaeson.com

I’ve been living in Vienna since 2012. Since then I observe the city and my immediate living space. Vienna is a compact city unlike Bremen, my former college town, as well as my home town Seoul. That fascinated me.Through out this years public transport has become vehicle for my observation. The video has documented the manufacturing process of the installations, however, this is not a documentary. The video establishes the connection between the two installations. It also shows the archives of my fascination. In the production, while the analog film mechanism is played over the time, the performer’s body plays a central role.

Untitled (Flying Trees) Katharina Swoboda, 2013 HD Video, 03:00 min. www.katharinaswoboda.net

Camera: Carlo Clopath

The work is about the transportation of felled trees by helicopters in Graubunden, Switzerland. The video shows only a part of the sky, which is repeatedly traversed by a helicopter with a tree. This way of carrying trees is not uncommon in the mountains, but very expensive and therefore rarely applied.

-5°C 40% rF Simona Obholzer, AT, 2016 HD Video, 07:22 min. www.simonaobholzer.net

Kamera: Michael Schindegger Supported by: Land Tirol Kultur, bmwmf

Snow flurries that swallow all of the sounds, and also the colors. Rather than a romantic, idyllic scene of winter, a silent, powerful drift of pixels, disorientation, white noise – uncanny, apocalyptic, ecstatic, until the view clears, the image opens to a long shot; disenchanting – the natural phenomenon in the age of its mechanical (re-)production.,(Michelle Koch, Diagonale Katalog 2017)

W O W (Kodak) Viktoria Schmid, AT, 2018 HD Video, 02:35 min. www.viktoriaschmid.com

“Five… four… three… two… one,” chants an older man into the microphone. He replaces the obligatory unspoken “zero” of the countdown with a dynamic backward twist of his upper body. The point of his finger, which twists backward with him, provokes a change in the shot to reveal the view of a bulging baroque dust cloud being sucked inside a building by a nearly unstoppable force, from which, in a din, an imposing structure in its entire, undamaged splendor emerges. This process occurs five times altogether from various perspectives and distances. One seems reminded of the legendary explosion at the end of Michelangelo Antonioni´s Zabriskie Point, but with a decisive difference: Viktoria Schmid re-demolishes. Her working material comprises private recordings from viewers who witnessed the demolition of the building parts of the Eastman Kodak company complex in Rochester and published their self-filmed documentary clips onto YouTube. Many of them had worked in the factory, which makes them witnesses to the destruction of their former workplace. Viktoria Schmid compiled the clips and played them backwards. In the regenerative movement, the implosion turns into an act of constituting. And thus, the reducing to rubbles of the building parts becomes a spectacular reconstruction, accompanied by the amazed shouts of the audience (“WOW” is the palindrome of the moment!). In this way, using digital means, a party-like tribute is paid to the glorious resurrection of the factory for color-sensitive analogue film. (Melanie Letschnig)

distortion Lydia Nsiah, AT, 2016 HD Video, 4:3, 04:40 min. www.lydiansiah.net

Director & Editor: Lydia Nsiah Camera: Found Footage Sound: Billy Roisz Supported by bundeskanzleramt österreich & wienkultur Distributed by: sixpackfilm & Lydia Nsiah

Interference signals on all tracks: booming, choppy sound. The image disintegrates into digital blocks, into patterns and grids; flickers and vibrates. Flashing in between is a figure, a landscape, and a face. An uncanny rush of image and sound that probes the aesthetic potential of digitally deformed film. The concrete disintegrates into the abstract — distorted film in its most beautiful form. (Text: Michelle Koch)

Die_anderen_bilder Iris Blauensteiner, AT/GER/FR, 2018 HD Video, 17:00 min. www.irisblauensteiner.com

Concept, Realization, Production: Iris Blauensteiner / Music, Sound Design, Sound Mixer: Rojin Sharafi / Voice-Over, Actress: Judith Mauthe / Technical Consultant: Matthias Writze / Script Consultant: Irmgard Fuchs / Research: Flora Löffelmann / Re-recording Mixer: Rudolf Pototschnig / English Version: Wortschatzproduktion, Stefania Schenk Vitale / Supported by: ORFIII, Austrian Federal Chancellery Arts and Culture, Academy of Fine Arts Vienna, ARTE Creative / Realized as part of the program „Pixel, Bytes & Film“

A hard drive, 2.8 terabyte leftover data from a project that was shot 10 years ago. In 2008, the author and filmmaker Iris Blauensteiner made her first short movie. Now she sifts through this waste material: outtake scenes, photographs, sound files, e-mails, script passages, discarded ideas. This data was archived and well stored, but time has taken its toll. Old data formats cannot be played anymore because they are no longer compatible with current players. The multitude of read errors and image distortions disallow a comfortable recollection of the past, the pictures and sounds are not what they used to be. Ghostly, eerily magical scenes arise from the digital waste material and read errors, they reach into the visible and audible spectrum. Memories are recycled. They require a different cinematic experience, a new narrative, a different film. „the_other_images“ is an experimental documentary short film. It raises the question how memory and remembering is possible when all the digital storages fail or cannot be accessed, postulating a possible answer in form of recycling and reutilizing the digital archive.

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standardspoonbarware · 6 years ago

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goodra-king · 5 years ago

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Transcript of Creating a Brand Name That Sticks

Transcript of Creating a Brand Name That Sticks written by John Jantsch read more at Duct Tape Marketing

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Transcript

John Jantsch: Hello and welcome to another episode of the Duct Tape Marketing Podcast. This is John Jantsch, and my guest today is Jeremy Miller. He is a brand strategist speaker, founder of Sticky Branding and the author of Brand New Name: A Proven, Step-by-Step Process to Create an Unforgettable Brand Name. So Jeremy, welcome to the show.

Jeremy Miller: Thanks John. It’s a pleasure to be here.

John Jantsch: So I have to tell you, I’m going to have a confession. You know my brand name is Duct Tape Marketing.

Jeremy Miller: Yes.

John Jantsch: But my original company name was Jantsch Communications.

Jeremy Miller: I love that you changed your name then. It’s one of my favorite marketing names that has been unforgettable, and following you for eight years, it’s in that range that it just sticks.

John Jantsch: Well, Jantsch Communications was terrible as a name, because it was-

Jeremy Miller: Well, it’s your name. You can’t knock your family name, your parents worked hard on it.

John Jantsch: It was my name, but people thought I sold long distance or something, I don’t know. I’m dating myself, right? What’s long distance? But anyway, yeah, we’re going to talk about that. Let me ask you the first question. What’s the job of a brand name? What does a brand name need to do to be successful?

Jeremy Miller: Well, I think of a brand name as a label in a file folder in your customer’s mind. It’s that thing that people refer to when they have a need. When you go to a grocery store, when you are talking to someone, we think in words, we think in names. It’s the way we identify something. There’s this classic scene in the Simpsons, I don’t remember if you recall, but Mr. Burns loses his power plant and he becomes a normal person, he has to do his own grocery shopping. He’s sitting in the grocery aisle and he’s looking at catsup and ketchup, and just back and forth, “Ketchup, catsup,” and everyone down the aisle are looking at him, “What’s this crazy person doing?” He doesn’t have the words to know how to buy something. And that’s the purpose of a name. It’s that thing that gives you meaning.

John Jantsch: Well, and full disclosure, I lucked on to Duct Tape Marketing. I mean, I just thought that that sounded like a good name, but I didn’t do all kinds of extensive research. But what everybody kept telling me every time I would say it is like, “I get it. It tells a story.” And so without really knowing, I think I kind of lucked onto really one of the key attributes of a great brand name, isn’t it?

Jeremy Miller: I think so. And I think a great name absolutely does tell a story, and that’s what makes it memorable, that we understand it. Now, not all names have to tell a story. A name could be an empty vessel. When you look at Kodak, George Eastman’s vision was to create a name that meant nothing, that he could breathe life into so that it became a story of the Kodak moment. So you took a descriptive metaphor and were able to apply it to marketing. We understand what duct tape is, we understand what marketing is, but by putting them together, it creates this aha moment. But it all depends on the entrepreneur’s strategy. What do you want your business to be? And then you choose the name that fits it.

John Jantsch: Let’s go to that Kodak example, because yes, in hindsight, huge brand name, everybody knows what it meant or what it stood for at one point, but when you come up with a name like that, does it require then that you’re going to invest so much energy in having to explain to people and describe it and maybe even spend years getting it to become a household name?

Jeremy Miller: Yes, absolutely. So when you choose an empty vessel such as a Kodak or a Verizon or Hulu or any of those types of names, then you have to breathe life into it and make it your own, but that’s not necessarily a bad thing. It’s your opportunity that when people interact with your business and your products and your service and your people, that’s how you’re inserting meaning and value into that name, but you’re going to have to work harder to promote yourself. So you have that balancing act, but that’s actually part of the strategy too. The biggest reason why we are going towards empty vessels is that there’s a trademark issue.

Jeremy Miller: There’s actually a naming drought. In the United States alone, we are registering 564,000 new small businesses every single month. That’s 2% of the United States population starting a company at any given time, and that’s just a mind boggling number for me. Now, not all these businesses are going to survive, but they all need names and they all need websites and then a chunk of them are going to do trademarks. And so we’re, today, experiencing an issue where all the available .coms, if you’re going to go buy a website, chances are you’re going to have to buy it from someone else. It’s like real estate. But if you throw the trademark element to the mix, now we’ve got really complicated things.

Jeremy Miller: So being able to register something like Duct Tape anything today, it’s going to be really hard. You got in at a moment in time that allowed you to create this powerful brand story.

John Jantsch: Well, and I love the Hulus and the names that you threw out there when they really evoke emotion for me. Even if I don’t know what it means, I like the sound of it or something, or even then when it’s explained to me what it means, sometimes. But can we also get too clever? I mean, I see a lot of people doing stuff where I’m kind of like, I can’t even say that, let alone spell that.

Jeremy Miller: Well, I think there’s absolutely that. So my advice if you’re inventing a word is focus on something that is a phonetic spelling versus a Latin or Greek spelling. It’s a lot easier to say Hulu than Verizon, and it’s a lot easier to remember that, same thing with Uber and other things, even though they’re short. Acura is an example of a phonetically spelled word that was invented or Swiffer is another one. We speak and think in sounds, whereas something that has more of, say, a pharmaceutical type of nature is a lot harder to remember. So there’s that element of our programming as people.

Jeremy Miller: But I would also just say this, that name is strategic. What you choose to name something should represent your brand, your positioning, what you’re trying to create. So if you called, say, a chain of retirement living centers, purple taco, you probably have got the wrong strategy, even if it sounds kind of cool. So the name has got to fit what you want to create. So your strategy is where everything starts.

John Jantsch: The name thing is hard, because you can come up with and test some names … I’ve found over the years, you’ll get feedback, people, “Oh, that’s terrible. That’s awful.” But then you go with it and 10 years in it’s like Frisbee. Probably a stupid sounding name the first time somebody heard it, but then became … And again, not everybody’s looking for naming a whole category of a device, but isn’t that a good example of sometimes you got to throw stuff out there at first maybe doesn’t just sound right?

Jeremy Miller: I’m going to come back to the Frisbee story in a second, but yes, a quirk, something that is odd or doesn’t quite fit, like Slack. How could a product focused on team collaboration have all these negative connotations? But the name is just great. Same thing with Banana Republic. If you look at the history of what banana republics are, calling a clothing brand that, is a pretty risky, bold move. But those quirks are what makes something so memorable. You mentioned Frisbee, that’s actually a story I tell in the book. Fred Morrison, who was the inventor of the Frisbee, hated that name. He thought it was the dumbest thing. The original name was called Pluto platters.

Jeremy Miller: So Frisbee was bought by Wham-O. They were the guys who created Hula Hoop and Silly String. And so [Fred Knerr 00:00:22:52], who was one of the founders, went out and he visited Fred Morrison in Connecticut near Yale, and he saw all the kids were calling this thing Frisbee. And it turns out Frisbie was a pie company in Connecticut, and what the kids did before Netflix and internet and iPhones, they would take empty pie tins and throw them around the quad. So they took the name of the pie tins and applied it to these flying saucers. And Fred Knerr was just a brilliant marketer and he saw what the customers were already calling it and took that.

John Jantsch: And now a little word from our sponsor. Intercom wants more of the nice people visiting your website to give you money, so they took a little chat bubble in the corner of a website and packed it with conversational bots, product tours, NPS surveys, all sorts of things that amplify your team and help you reach more nice people. Intercom customer, Unity, got 45% more loyal users with Intercom in just 12 months. Go to intercom.com/podcast to start making money from real time chat, then see everything else Intercom can do. That’s intercom.com/podcast.

John Jantsch: So tell me this. Does everything need a name? In other words, should we be naming our processes and our products and our divisions and our job titles? Brand it?

Jeremy Miller: Yes, 100%. I think you can go probably a little too crazy on it, but I would say for something to exist, it needs a name especially in the professional services world, if we’re selling thought leadership. You look at just how you name your systems, how you name your services, not only does it give it gravitas from a customer marketing perspective, it gives it gravitas from an internal perspective. So that if you are talking about your efficiency and the way you deliver customer service, simply by giving that thing a name creates value. And so naming is probably the most important construct of language, because once something has a name, it gains meaning. And if you are deliberate on this, you are making choices of how you are going to grow your business.

John Jantsch: Yeah. And I think sometimes, you said gives it meaning, but it also makes it tangible. It’s almost like, “Oh, here’s proof that we have a 37 step process to make sure that your product or your service gets done right.” Where everybody else is just saying trust us.

Jeremy Miller: Exactly. And in the world of differentiation, especially if we’re looking at small businesses, often we are selling something that somebody else is already selling. So how you describe your services, how you describe what makes you unique and why you do what you do, those simple things of giving them names are what affects meaning and give you credibility when you describe your 37 step process for delighting your customer, then people go, “Oh, that’s why you do that.”

John Jantsch: And I know the answer to this is yes, is there a process for coming up with a name?

Jeremy Miller: 100%.

John Jantsch: You want to share that with us?

Jeremy Miller: Sure. Let me tell you a bit of where it came from. I’m a serial entrepreneur and you are too, and we work with lots entrepreneurs, and naming is one of those vexing things that consumes so much time and every time you find a great name you find someone else has taken it. And so the reason why I wrote this book was I tried to answer the question of, what do I wish I had when I went through that naming process? And so Brand New Name draws on the ideas of the GV sprint and agile project management. And the idea is over the course of two to four weeks, it gives you three stages to build your strategy, generate lots of ideas and test and select the right name for your brand.

Jeremy Miller: And so in stage one we need to build a strategy, what does it mean to have a great name? And how are you going to know it when you see it? And step two, I believe in employee co-creation, which is how do we get everybody on our team to participate and generate as many ideas as we can over the course of five days? And then the hardest part of naming isn’t coming up with ideas, it’s that vetting process. How do we find one that resonates, fits the brand and most importantly, we can own it? And so that’s what the book does. In the span of that book, everything you need to name something, whether it’s a company, a product or service is all there in those pages.

John Jantsch: Go back to number one for me, because I think that’s actually the hardest part for a lot of companies, because they don’t have a strategy anyway. And so a naming strategy is like a subdivision of strategy. What are the actual steps in that?

Jeremy Miller: So what we start off with is defining, what is it you’re naming. And so it’s the simple question of, what are you naming? Is it a company? Is it a product? Is it a service? And then describing it. My first book, Sticky Branding, I talked about this idea called simple clarity, which is the ability to describe who you are, what you do and who you serve in 10 words or less, and so we build on this a little bit. Part of what we look at in developing your strategy is to be able to answer those basic questions. What are we naming? What are the criterias? Who are our customers? How do they buy? Who are our competitors? What are the naming trends in that space? And what is it going to take to stand out?

Jeremy Miller: And so we go through those questions so that you could set some naming principles. But what you said was very interesting, it’s a subset of strategy. Oftentimes though, when we are doing a naming strategy or when I introduce this to somebody, this is the first time they’ve actually ever considered some of these questions as brand, because we’re not necessarily thinking about brand all the time. So naming is the first step for many people to actually ask the deliberate questions of, who are we? Where do we play? How do we win? How do we want to be known? And by simply getting that down on paper, starts to set the guidelines for what it’s going to take to find a brilliant name.

John Jantsch: I’ve worked with a lot of small business owners and we go through the whole strategy thing, and just like Jantsch Communications, I talked about, was a lousy name, I have to deliver the really bad news that we need to change the name of your business. Is that something that … I mean, you’ve probably faced it before, and if the name’s wrong, I mean, I suppose we can live, but we’re not going to get the message across, we’re not going to get the differentiation across. How do you address or approach that idea of maybe the name now is going to be sort of the leading edge of our strategy, because it’s going to be something that we’re going to have to change everything about? I mean, how do you address that?

Jeremy Miller: Face forward and deal with it head on. So we deal with name changes all the time in our practice. And so for example, a large part of my work is with multi generational family businesses, and we did a naming project a couple of years ago where it was called A-1 Shipping Supplies. It was made for the yellow pages basically, but 35 years later, there is no yellow pages and A-1 looks cheesy as hell. Oh, by the way, they’re doing food packaging, primarily not shipping supplies. And you deal with it. When your name is causing dissonance or hurting your credibility or preventing growth, you change it. Now, in their case, they changed their name to Rocketline, and they created a quirky, whimsical name that didn’t have a lot of meaning, but it allowed them to shape what they want to be.

Jeremy Miller: But the key in changing a name is that all that meaning and all those experiences people have had with you are associated with the one name, you have to deliberately pour those contents into the other vessel. And so you have to have a marketing strategy and a communication strategy of how you’re going to convey what your new name is and why you’re changing it to customers, prospects and whoever it is. The nice thing is as a small business, you could probably call up all of your customers and tell them face to face or over the phone why you did it, whereas if you’re talking about a large global or multinational company, it’s a lot more complicated. But generally speaking, it’s not that hard, and so if your name hurts you, change it.

John Jantsch: Is there a place for a transition? In other words, go through two name changes or something? You’ve seen people do that, where they blend the logos or something like that. Does that make sense or does that just make it harder?

Jeremy Miller: I guess you would have to tell me what the strategy is. I think within mergers, that sometimes makes sense, but those are probably larger entities with a larger communication strategy. What I would suggest is go with the name for the brand you want to be. So whatever you look at three, five, 10 years, don’t worry about what’s happening in the next 18 months, think about where you’re going and choose the name for that. What you need, though, in your communication strategy is … Where most people underestimate is how long they should be communicating the change. So they do say a 90 day or a six month campaign to communicate the change, but-

John Jantsch: “We did a press release.”

Jeremy Miller: Yeah. It’s 18 months minimum. 18 months.

John Jantsch: Yeah. You already mentioned this idea of domain names. I mean, have you ever come up with a name, and then first thing you did was look for the domain and just said, “No, it’s a nonstarter, because we can’t get a good name.” I mean, are we at a point where that is dictating branding?

Jeremy Miller: If you asked me this question five years ago, I would have said yes, 100%. Today, no. I think domain names are losing a little bit of relevance. So now, we add a descriptor. So for example, say you wanted to call your company Grant, and you want a grant.com, well I know that’s available right now, but it’s $10,000 a month on lease. I don’t know about you, but I got better ways to spend that kind of money on an annual basis. So what you look at is … So Tesla was Tesla Motors until very recently, or Buffer ran as Buffer app until their second round of funding and they could afford to buy the .com. Focus on creating a great name, and then put a descriptor on it or get creative.

Jeremy Miller: One of my favorites is Zoom, they have zoom.us or Zoom us, so they made their name a verb. The only place people are seeing domain names primarily today is in your marketing collateral and your business cards. When you go to a browser, you type in the word not in the URL, and when you see it on a website or somewhere else, you click the link, or more likely you’re going to be talking to Siri or Alexa and not even saying the URL.

John Jantsch: Yeah. Well, and there’s, as you just mentioned, .us and .ios and all those I think have become pretty … People are very accepting of those. And I think you’re right. I’m sure there’s a zoom.com, I haven’t Googled it, but I’m sure there’s a zoom.com, and so then if somebody has the exact name and a .com, that probably could lead to some confusion.

Jeremy Miller: It could, but it’s like trademarks, are they in the same space and the same category? Like you have Pandora, which is jewelry and Pandora, which is a streaming music service. So you can have multiple companies using the same names, but because they operate in different places, they can get away with it, and especially small businesses. Chances are we are local, and so the fact that there’s someone else named what you’re named in another state, it may not be all that relevant.

John Jantsch: You’re right, the behavior has changed. It used to be .com or nothing else, and I think that now, as you said, it’s not so important that people are typing it, as long as you do the fundamental SEO stuff with it.

Jeremy Miller: Here’s my most fundamental comment to branding, and this is a bit of a flippant, but build a great business. The classic example is you see a restaurant, comes out with brilliant marketing, brilliant ad campaign, beautiful restaurant, great everything, and then you get food poisoning. So the brand is, “Don’t go back to that place, I got food poisoning.” None of the marketing mattered. And I think you could actually start a small business with a terrible name, but do such great work that people love you and they come back and they refer you, and that’s your brand actually. It’s two parts. A brand is based on what you’ve done, so the results that you have delivered to your clients, and branding is what you’re going to do.

Jeremy Miller: Now, if the name starts to hurt you or you grow beyond it, now you need marketing that needs reach and that crappy name doesn’t work for you anymore, absolutely change it, but never lose sight that the quality of your business is the number one predictor of the quality of your brand.

John Jantsch: Yeah. I’ve often said, and listeners of my show will recognize this, that every business has a brand, I think it’s just whether or not they are directing it intentionally, so that goes so much to that. Jeremy, where can people find out more about you and your work and of course, pick up a copy of Brand New Name.

Jeremy Miller: Well, Brand New Name will be sold wherever books are sold. It comes out on October 8th, so Amazon for sure. And the best way to find me is just to Google Sticky Branding. Stickybranding.com is my website, and I’m on all the social networks @stickybranding, and I’d love to connect with everyone.

John Jantsch: Awesome. Thanks for taking the time, Jeremy, and hopefully we’ll see you out there on the road soon.

Jeremy Miller: Awesome. Thanks John.

from http://bit.ly/2mKQHti

#Marketing Plan

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bunowind · 7 years ago

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. フィルムで撮った少し昔のハワイ。 . . . KODAK HULA SHOW カピオラニ公園でやってたコダック・フラ・ショウって、まだやってるのかなぁ… コダックは一度傾いいるから、その時に終わっちゃったかな？ . . #filmphotography #analogphotography . #instagramjapan #instagramers #IGersJP #igers . #instatravel #instatrip #travelgram #findtravel #beautifuldestinations #exploretheworld #photo_shorttrip #photo_travelers #hawaii #kapiolanipark #oldhawaii #kodachrome #kr64 #hula #kodakhulashow http://ift.tt/2mHpR19

#IFTTT #Instagram

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vintageviewmaster · 2 years ago

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Caption: Pretty Hula Girls Pose with Malihini - Visitor

Brand: View-Master Packet Title: Kodak Hula Show Reel Title: Kodak Hula Show Reel Subtitle: Waikiki, Hawaii; Reel One Reel Number: A 1221 Reel Edition: A Image Number: 7 Date: Undated

#a 122 #sawyer's inc.#viewmaster #view-master #kodak hula show #hula #hawaii #waikiki

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aqlyrics-blog · 8 years ago

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Beats Keep Callin

New Post has been published on http://purelyrics.net/lyrics/royce-da-59-beats-keep-callin/

Beats Keep Callin

–Part 1: “Bad and Boujee” Remix–

–Intro– Whatever, whatever, whatever Mr. Porter don’t trust you, I’m gon’ bust you, nigga That thang pop, pop pop Whatever, whatever, whatever (If Young Metro don’t trust you, I’m gon’ shoot you) Whatever, whatever

–Verse– This that “your career’s over” flow, for real This ain’t four-wheelin’, roll with coke, heroin, ‘caine Bone chilling, cold with no feelings Bangin dope-dealin-Hov and No-Ceilings Wayne Started out like Nas, shoot gun, heavy is the head with the crown Slaughterhouse, my mind’s two tons, hardest out like John Q’s son And everything you say greasy and made up like a piece of cheesesteak And everything I say come natural, in this thing of beauty, like Alicia Keys face How can I be hated in the streets, when I’m on even on my off day I’m creative when it’s beef, while you throw salt, I’m your baby mama and them new salt bae I’ll assault they a la carte tray Molotov through your restaurant window Mr. Hyde, Dr. Jekyll, Nickel Nine, Ricky Grimes I’m Sylvester Mindbender I spark fours, that’ll arch floors That’ll have whoever acting hardcore Doing parkour, I’ma dog Porter Brought the dog for, recording harsh thoughts for the art form Taking me to your leader is like showing Chuck Norris where a glass door is While I’m just tryna stay outta jail Last war I stay strapped for it Y’all can run while the gats blowing And if I miss your ass, then I guess you saved by the bell, like Zack Morris I’m on bando time when I ride through cities Before my time R.I.P. Bobby Krissy Or Bobby, Whitney, flow K-Ci, JoJo Let the Tech N9ne go KC, MO., bro I don’t stand my ground, I just demolish niggas Simple you against me you ain’t ridin’ with me Bitch not only do I kiss and tell, I’m Orlando Brown when I describe them titties I’m the rubberband man, but I do more than count bands Fuck sipping 40 ounces, I’m sober out here, fucking hoes like 40 oz Van Nigga I’m Pusha T doing quiet numbers, getting silent money, I’ll retire from it, I don’t dress loud, I throw the flyness on it Let the labels talk and Desiigner mumble like Donald Trump Throwing money hitting everybody and they auntie up Trying to find someone to come perform for me ‘fore I fuck the whole entire country up I’m the first one gunnin’, last one runnin’ Too enlightened for a check (yeah) Any rapper that want it, I’m Wack 100 Invite ’em to a scrap (yeah) I narrow down shit the Farrakhan way You can find me anywhere the crime wave I’m Schwarzenegger, you Sarah Conner And your favorite rapper act like Eric Andre Ryan’s still alive, played nice ’cause the drama still flies Even when you shoot your lil uzi vertical in broad day Like you still tryna kill God I’m French kissing with a “bitch you” mentality Voodoo and como talle vous While I’m hula hoopin’ dollars for that snarly tooth My future look like juju in a body suit When you niggas gon’ admit it? That I’m better than the youngins, that I’m better than the legends Never did I dumb it down or did I settle I’m Rick the Ruler in every different measure I ain’t just the R, I’m every different letter I can give your chick eleven inches if she let me get the leverage I can be president of hip-hop which is let me switch endeavors And I’m just having an open workout in Heaven, tryna get me a good sweat I’m Jae Millz looking up at the sky like, “Ayo B.I.G, am I good yet?”

–Part 2: “Lockjaw” Remix–

–Interlude– When you a fiend for the rhythm and the beats just keep callin’ ya They keep callin’ ya They keep callin’ ya

–Chorus– When it’s hard to understand me ’cause my jaws keeps lockin’ My parents keep callin’, the Lord keeps watchin’ I’m standing on the corner with my boys, beat boxin’ And anywhere I go, all of these whores be jockin’

–Verse 1– The dogs keep barkin’ at the top dog They already lost it, nigga, it’s a lost cause I remember when I had to pawn all my jewelry Was so embarrassed by the help that no one offered to me Zoning off the bottle, we only taught to fight back We only talk survival, walking home, we just might scrap All we did was write raps, tryna get so drunk Had to get my sight back, product of the old gun Made some bad decisions so early on in the process I had people out to get me, my album wasn’t even out yet I’m talking ’bout the self-proclaimed “King of Detroit” I seen some people reaching they dreams, some people destroyed I seen people die at the hands of the violence of man Seen people shot out the sky, being fly as they can Seen ’em split the pie up and Pam sniff her entire two grams Slipping, now we in your crib to tie up your fam ‘Cause it’s hard to really focus when you’re tryna stack for ya Lawyers, with those in power tryna blackball ya It’s hard to find employers like accountants that’s loyal With those who told ya they adore tryna back-door ya You ain’t on-point though, one minute, you popping trunks Next minute, you happy man, next minute, you sloppy drunk Every January 1st, the ball keeps droppin’ And I’m just celebrating it at the mall, we shoppin’ Celebrating friendships, “Bro” this, “Cuz” that “Fam” this, borrow that, loyal this, trust that Comas after comas that were alcohol induced If I ain’t wake up from ’em, I won’t ask what y’all would do

[Refrain] I had to bite down, bite down A nigga had to bite down, bite down All I could do was bite down, bite down, down Bite down, bite down, I had to

[Verse 2] Hundred yard dash through the hood, talking money runs Using that money counter, getting rid of them funny ones You know the ones, too wrinkled to go in them slot machines Throw ’em on the titty bar floor to lower a thot esteem You could be the hottest thing and still have the wrong team Sometimes to see the bigger picture, you need a wider screen I got the arm out the black beatle, beating the drum Mannequin challenging whole families, viva la drunk It’s Nickel Season, the fever’s begun I’m savage, even though my tat issa knife, I’m keeping a gun Loaded cartridges, stolen cars with the Lowenharts Rip the game apart and you are not worthy like Wayne & Garth By now, my life’s so righteous, I don’t even sleep with groupies I move like that nigga Spike Lee when he was Mookie Back in high school, I really clowned I said I’d do the right thing if Rosie let me ice cube them titties now But this is realer than movie depictions What you niggas know ’bout making a move in a beef and truly committin’? It ain’t no squashing it after you push a certain button Make sure everything under your lip cut and your shirt is tucked in Burning your beard away with Magic Shave COs frisking your pregnant bitch, turning your kids away, thataway That’ll in a shallow grave, casualty of a cabaret Daughter calling some wack nigga “daddy” at movie matinees Even when we deal with Saturdays, my children still know that I don’t want another man’s cheap-ass ways on my doormat And anything I do from legal to illegal I do this shit the ski mask way, like I’m Lil Kodak

–Outro– When you a fiend for the rhythm and the beats just keep callin’ ya They keep callin’ ya They keep callin’ ya

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