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feverdreamjohnny · 11 months

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The Epitaph of Anything Goes

I decided that this morning I would talk about The Museum of Anything Goes and the subject of lost media.

For the uninitiated, The Museum of Anything Goes is an obscure "game" released in 1995 by Wayzata Technologies, a company that is so far under the radar that I was unable to find any useful information about it outside of TMoAG.

All I could uncover is that they published a few multimedia projects (which are essentially lost now) alongside some asset discs (clipart, SFX, etc.). That's it.

The brains behind Wayzata are even more difficult to locate these days: there are only two main names credited inside of TMoAG - Michael Markowski and Maxwell S. Robertson.

The game alleges that Michael and Maxwell are well known in the art world, but any additional information about the duo is scarce beyond the confines of the museum. Attempting to search for either name online turns up plenty of rabbit holes - but none of them have anything to do with the Michael and Maxwell responsible for TMoAG.

This is particularly fascinating because it essentially means that TMoAG is the only accessible record of their lives. Before we dig any deeper into that statement, let me step back and actually address what this game is.

The Museum of Anything Goes is, by definition, a virtual art museum. Functionally it's a prerendered point-and-click adventure game where you can explore a bunch of multimedia exhibits that give the surface-level impression of a children's edutainment game, but once you start exploring further it reveals a side that firmly plants the game's feet into a haze of substance abuse and surreal humor.

Many exhibits are essentially just toying around with the astonishing new powers of CD-ROM. Everything has to make noise. Everything has to spin and flitter around. There's an air of genuine excitement for the medium, and I can't help but find it extremely charming.

The game also functions as a scrapbook, filled to the brim with photos of random trips to the zoo and snow-mobile rides with friends. At one point we even get insight into something as specific as Michael's one-year job as a tutor at a Chicago middle school, where he talks about how it opened his eyes to how poorly funded and mismanaged the school system is.

It's simultaneously quaint and chilling to see so much personal history packed into a world doomed to obscurity. As I explore the deeper parts of the museum, I contemplate if the creators are still alive today. It's a bit morbid, but imagine that - you create a single obscure game with your friend and it's all the world can see. TMoAG is currently the only surviving piece that gives any insight into who these two men were.

While many exhibits are lighthearted or nonsensical, there are occasional moments where the game dips into the eerie.

One exhibit has the player kill a man by dropping him from the sky, and after burying him you open the coffin to a video of a rotting pig carcass being put into an incinerator.

Other exhibits just feature simple 3D renders shifting around a dark screen while haunting groans play in the background.

While I would never refer to the game as "scary," its darker moments combined with the occasional mature subject matter definitely begs the question: Who is this game for?

You have to remember that this game came out long before the concept of "alt-games" had become codified in the digital space. Sure, unconventional digital art had been around before the advent of 256 colors, but TMoAG was being sold on disk as a game! It came out 2 years after DOOM hit shelves!

The trend of using the PC for entertainment was certainly on the upswing around that time, but It's not like TMoAG had a massive audience to find a niche in. With its mature themes it certainly wasn't suited for the kids market either, so who was it for?

At the end of the day, it's a moot question. We already know the target audience for The Museum of Anything Goes: Nobody. It doesn't have an audience because by its nature, TMoAG wasn't being made FOR someone, it was being made BY someone. It's a raw, unfiltered form of personal expression.

I think games like these are pivotal, because they question why people assume a game has to exist for the sake of being a consumable product. TMoAG certainly has the shape of a product: it features an intro cutscene, it has a tutorial, it features intuitive UX, it even has a map! These are all features that are solely integrated to provide comfort to an end-user. But once you actually wander around the museum for a bit, you realize how bizarrely its packaging fits its contents.

I think TMoAG is criminally underrated. It's not because its core content contains some earth-shaking truth, it's because the game defied all odds and cheated death.

How many thousands of other personal projects were deemed a little "too exotic" to be archived? How much history was lost these past 40 years as the digital space evolved and ate its old skin?

God knows how many other TMoAGs we'll never learn about because they weren't lucky enough to be preserved.

The Museum of Anything Goes isn't just some nonsensical art piece, it's a grave marker for so much lost media. Its existence is a reminder that some people's lives were fossilized, then macerated into nothing because a construction company built a skyscraper over them. The only evidence we have of those other games existing is this little fossil that somehow slipped out from under the skyscraper unscathed.

Even though so much has been lost, TMoAG survives as an epitaph.

#the museum of anything goes #TMoAG #writing

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jq37 · 4 months

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Over the summer I was the artist in residence at a summer camp and every night we had a big night game. Wizard capture the flag or Vampires vs. Werewolves--Whatever the activities director came up with that day.

One day the activity was Greek Mythology murder mystery. All the counselors were gods or heroes and Achilles was the victim, killed by an arrow to the chest. The cause of death hadn't been announced for 2 seconds before kids started yelling, "That's wrong! Achilles can only be killed by his heel!" Not just the teens. Elementary school kids too. I'd read the game doc before and knew that was supposed to be the mid-game twist and they got there in seconds.

These kids were exactly the target audience for the Percy Jackson show and so tapped into all the lore. Like, I saw a ten year old walk by me and say to her friends, "OK, if Achilles is here, where's Patroclus?" I was a total Greek Mythology nerd at that age pre the series existing and I don't even think I knew who Patroclus was.

Anyway, my point to all this is there are several moments in this new adaptation where a character calls out a trap before they walk into it (like the Medusa's lair or the Lotus Casino) whereas in the book they just kinda walk in even though it seems like they should be a little more genre savvy. I don't think any of these characters are infallible/impossible to trick (even ones like Annabeth who are super smart) but I really get the sense that Rick and the writers were writing with kids like the ones at that camp in mind. Kids who would watch kids walk into an obvious Greek Mythology trap and think ok well I've read the Oddesey, so why haven't they? When Rick wrote the books it was a pre Percy Jackson world. But even my brother who hates to read at least read The Lightning Thief. I feel like they felt that if my brother was savvy to Medusa, they couldn't credibly claim that Annabeth who's been immersed in the culture since she was in single digits wouldn't also be on top of things. There's a sense of almost...audience management if that makes sense.

#percy jackson spoilers #percy jackson #pjo tv spoilers #pjo tv series #pjo tv show #pjo tv #spoilers #(meanwhile one of the campers who was playing demeter nudged me mid game to ask me what dionysus was the god of. it was so funny)#anyway this is a neutral observation #this has been my ted talk #in case you're curious the actual cause of death was snake bite to the heel #and aphodite did it for reasons i can't currently recall

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txttletale · 8 months

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bundletober #7: this party sucks

hello and welcome to bundletober, the numinous ritual that shall call down the damnation of angels upon our deserving heads. today's game is this party sucks by beating the binary

i won't beat around the bush: i was primed to not like this game much, which is maybe uncharitable--but games making a big deal of how 'queer' they are in their marketing copy always puts me off. this might stem back to my love-hate relationship with thirsty sword lesbians and that game's chronic tone problem, or i might just be a cynical bitch. but this party sucks surprised me in a good way. it's a pretty simple game: it's about a single protagonist (control of whom rotates around the table) going to a bunch of parties to try not to think about their ex, having a bad time, and then thinking about their ex. it's the kind of razor-sharp concept that i think TTRPGs should tackle more (or, rather, that the hundreds of TTRPGs tackling should get more attention) and imo it pulls it off well.

i've been talking a bit on the horizon machine blog about safety tools and which ones i like and don't like--this party sucks does something surprising and invents a brand new safety tool that i actually like a lot. i mean, it's by the author's own admission half safety tool and half play aid and half joke. but it does all those things really well

the IFCOBPC card is a really funny and fantrastic concept and it fits perfectly in this game -- it's a game about a queer awkward twentysomething and that also seems to be the obvious target audience, and it's a play and design space i haven't seen explored--a way to signal this kind of over-the-table emotional response without a complex mechanical framework or the extremely serious and weighty context of x-cards & the like

the other thing i like about this party sucks is that it's specifically three-player. this is a game for three people to play, there are three books, you rotate them round once each, and everything in the game is designed for that. i like this kind of restriction, because it's much easier to design tightly around three people than, say, '3-5' -- and it shows! the division of play roles into the Protagonist, the Venue, and Other People at the party makes perfect sense and gives everyone a fair amount to do. as someone who was a 'forever DM' back when i still played d&d, i now adore games that clearly delineate and distribute narrative power and responsibility.

one last thing--this party sucks has an epilogue mechanic, a real ending. and i love that! ending one-shot games in a satisfying way can often feel difficult, and having a set of prompts asking you to decide on what happens after the game is over is a great way to provide guidance for that. ultimately, though, as much as i talk about tight design, what really made the focus on queerness in this party sucks work for me when for the most part it doesn't in thirsty sword lesbians is the tone--there's a frank first-person tone, no attempt to put on a narratorial persona, only the designer talking about the game from what is clearly and unabashedly their own perspective.

if you want me to look kindly upon your game as a labour of love, talk openly about that love and about that labour in the game's text. you're allowed to do that--often, it will make that game better.

this party sucks is available for purchase as a digital download or a physical zine from itch.io

#tattletxt #bundletober 2023 #ttrpg

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somfte · 2 years

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I recently felt paralyzed by pressure to Be Perfect in the context of providing image descriptions. Talked it through with some people and got to a place where I no longer feel that pressure. Wanted to share the results of the discussion in case it helps other people so we can have more people doing image descriptions.

Trying to make our digital communities as accessible as possible is something we will have to do as a group effort, from the ground up. We cannot rely on companies to do it for us.

Image and video descriptions:

You don't have to describe every post you reblog; it's a group effort, we're not each individually responsible for righting every wrong on the planet.

But you can make a good faith effort to see if there's already an image description in the notes that you can reblog instead.

If you're the OP and someone does an image description for you, you can edit the original post to include it for the benefit of future reblogs - saves everyone a lot of trouble and shows your appreciation for the description.

If you're making an original post, you're better situated than anyone else to write an image or video description since you know what the most relevant aspects of the medium are.

Descriptions don't have to be perfect!

They don't have to follow some specific syntax guideline.

They don't have to describe every single detail of the image, just the important parts.

You can rely on context to do some of the work for you!

Is the image targeted at a specific audience or fandom? Take some knowledge as assumed/given and don't worry about describing that part (e.g. instead of "a sketch of Geralt, a middle aged man with white hair dressed in armor, riding a horse..." try "a sketch of Geralt looking fondly at Roach, whose mane has been braided by Ciri" - you don't have to give the whole backstory every time you describe an image)

If you see someone say that you *must* do x or y - first, ignore the "must". Then, take some time to think about how the change in action would benefit the community and how and whether you can accommodate the change. Then, try incorporating the change as best you can, without beating yourself up if you can't. Everyone has different limits on their ability to contribute to different parts of accessibility. The goal is to all pull in the same direction, towards a kinder, more inclusive digital space.

If you are a creator and feel frozen when attempting to describe your own work, some options for you might be: a) ask a friend to help, b) put out a post asking for help, c) check the accessibility tags for people offering to help, etc.

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hexhomos · 5 months

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do you have any advice on creating for a fandom where the target audience is super small? i published my first jv fanwork the other day and although i obviously dont just do it for compliments/attention, im hesitant about continuing to create because it feels discouraging to be the only one interested in what i have to offer if that makes sense. i feel like leaguefic is not in demand at all in comparison to arcane and im not sure how to motivate myself… i love your work, thank you so much

To be perfectly honest, not bullshitting you at all here: I don't think there is a single-person fix for this. I have a share/discussion based brain and i generally thrive when doing most of my work within, at least, a private active community. A lot of times my motivation *for* finishing a complex painting or polishing up 10k+ words of something is that i want to be able to show other people what i see and what i like about certain things. Without that community aspect, i just tend to keep to myself and never evolve past drafts lol

Making art is hard. Especially if you have some sort of affective or emotional attachment to the subject. I think a couple years ago it wasn't so tasking, or at least it didn't feel so lonely, because fandoms tended to be more willing to leave indepth feedback or engage with things they liked on a daily basis -- but the culture of 'fast consumption' 'content mills' and 'neverending generated content' of the present decade has taught a lot of people to undervalue the work that goes into transformative projects.

This is why nowadays we see so many frequent calls reminding people to comment in fic, or actually hit the reblog button on some art they like, or even try to use long tags to express what they feel. The 'neverending content influx' marketing push has rendered broader audiences (and im including myself here, i'm not perfect) more apathetic, and more wiling to silently pass by things without a word, prioritizing the 'consumption' of 'large masses of content' rather than curiosity or engaging with a single thing for large amounts of time.

the TL;DR is that I don't think this is something you can fix on your own. It's an environmental issue. When I write, I'm doing so with the confidence that at least one person is really going to engage with it. (this can be a friend, or another internet person similarly lost in the digital desert, it varies.) The only way to rejuvenate a fandom ecosystem is to remind people to *try to give a tiny piece of their time* back to artists whose work they love, appreciate, or even mildly enjoy. It doesn't have to be HUGE extensive feedback everytime. If something made you chuckle for even a second, just try telling that to the person who made it. If you enjoyed reading something, or were amused by how someone wrote your favorite character, go tell them! right now! Try doing it a little bit of that every day! If everyone who sees this post went out right now to leave a word for a small creative they enjoy, we already would be so much better off. Communities are like orchid gardens; to get the special, unique, blooming flowers, you need a steady hand caring for them. We are all gardeners.

#resources

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suspiciousmammal · 1 year

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Upon further research I’ve decided that Wierusz-Kowalski is Munnings for people who think horses are ugly.

#posts with a target audience in the single digits

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silverfoxlou · 1 year

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Behind The Campaign :: Louis Tomlinson

Former One Direction star Louis Tomlinson released his debut album in 2020 through Sony but moved to BMG for his second album, Faith In The Future, in November 2022. Lisa Wilkinson, director of UK marketing (new recordings) at BMG, explains how they looked to reposition him in the market, what learnings were coming from his live success as well as his own festival, why his merchandise strategy directly informed his multi-formatted record release strategy, how they were able to build him without mass radio support, where a wider male audience was targeted this time round, why Twitter remains his most powerful social media platform and how a highly vocal and engaged fanbase was nurtured further and directly involved in the campaign.

1 Coming to BMG for his second solo album 2 The centrality of merchandise 3 The radio conundrum 4 Targeting a male audience 5 Building his songwriting profile 6 Targeting the press 7 Boosting the digital strategy 8 QR code and interactive community map at his Away From Home festival 9 Twitter as his main platform and setting him up on TikTok 10 Chart battle with Bruce Springsteen and the power of in-stores 11 Stationhead and Tim’s Twitter Listening Party 12 Fan-made Spotify Canvases 13 Documentary and the next steps

1. Coming to BMG for his second solo album

This is his first album with BMG. His debut album, Walls in 2020, was with Syco Music [via Sony]. That was off the back of X Factor with Simon Cowell.

He had done a couple of more commercial singles – one with Steve Aoki [‘Just Hold On’] and one with Bebe Rexha and Digital Farm Animals [‘Back To You’]. They were really successful streaming singles, but that’s not who Louis is. For the boys in One Direction, the ones that have been successful and the songs that have been successful are the ones that have stayed super pop and commercial. Louis did that but it’s just not who he is.

I think he felt, in that structure, that he just wasn’t getting the support to be who he wanted to be. That’s exactly why people come to us. It’s an artist services deal and we’re there to support you and advise you.

You can see from his live business and his merchandise business – and every other thing that Louis does – that there is an incredible fanbase there for him.

When they [Syco] released Walls, they achieved 14,000 units in week one and got to number 4 in Q1 in January 2020. We thought that just didn’t feel reflective of what was happening [around him].

We went and saw him at various venues on his world tour. We went to New York and saw those two shows and we went to Italy and watched his Milan stadium show in front of 30,000 people.

You’re looking and you’re thinking, “Those numbers don’t make any sense. How on Earth did you fumble that?” We were confident that we could do better than that.

He had a signing dinner in October 2021 and then his world tour started in February 2000 [sic], which was the delayed tour [due to the pandemic]. It went all the way through to September, pretty much nonstop.

They sold half a million tickets that year. All the while he’s on tour, he’s still making the album.

‘Out Of My System’ was released as a DSP-focused track before the album. It’s the rockiest and heaviest track on the album. He came straight off stage, went into a vocal booth off the side of the stage [to record it]. Because of the energy, he was so fired up. It was a difficult process because it was creating an album on the road.

He wanted to make an album for live. It was a totally different experience for him. Covid hit just a few months after Walls dropped so the tour was out of the question.

Before we started working on the album campaign, he did a show at Crystal Palace Bowl, which was the first incarnation of his Away From Home festival that he’s created and curated, which is for up-and-coming indie bands.

He gave away 8,000 tickets in August 2021 when we could start doing outdoor things again. I was there and was thinking, “There’s something big going on here.” The fans were so committed and dedicated.

Considering this is someone who hasn’t had real radio support or is seen in celebrity magazines or on social posts, this is a huge phenomenon.

That continued into the tour.

2 The centrality of merchandise

We started on the creative really early and that was a key factor in how successful the album was. We knew early on from discussions with management that his merch business was berserk. We knew what kind of fans he has. With their merch drops during Covid, they played around with the strategy. They got in a really cool design team and they would just do regular drops – limited-edition releases and you’ll never see it again. Everything just sold out constantly.

That informed the whole product strategy.

We knew we had to make product that’s limited in its nature because it encourages demand.

The fans just want it. It’s got to look amazing; it’s got to have Louis looking phenomenal because they just adore him; it’s got to be priced right; and there’s got to be a selection. So it’s more stuff, but less of it.

Instead of treating it like a music product, treat it like merchandise. We absolutely nailed that strategy.

We sold 35,000 records and around 2,500 units were streaming. A good chunk of that was physical album sales. It’s going to inform our strategy for any other albums we do with him.

We did 19 products in the end. We did a standard CD, we did a CD ‘zine which had 82 pages of beautiful content and photos, we had a picture disc vinyl, we did around eight different exclusive retail vinyl albums, we had a splatter vinyl for HMV, we had a colour one for Amazon, we had a clear one for Spotify, we had several more for Urban Outfitters and Target, we had an indie retailers one.

It was a collector thing: how many of the vinyl albums have you managed to get? We did a double deluxe vinyl for D2C. We did cassettes where the artwork joined together when you got all three. They were embossed and glowed in the dark. Louis has Easter eggs that he drops everywhere. The number 28 is like a lucky number, so you see 28 dotted around places. The same with 369 – he uses it in many iterations. If you had a UV light, you’d be able to see ‘3’, ‘6’ and ‘9’ embossed on each cassette.

3 The radio conundrum

We have seen historically that it has been tricky to get radio for him – but not because of any artist proposition issue. It’s just sonically that he wants to do something different to what radio wants to play.

It’s tricky because it falls through the gaps a little bit with what he wants to do. We’ve always looked at it as: let’s just assume there are zero promo opportunities at radio, TV and press. Let’s just take out promo entirely.

What you have got is a global, engaged, fanatical fanbase. You can do more with that than you can with those other things if you don’t have fans.

I would much rather have an artist who’s got an absolutely berserk global fanbase and that gets absolutely no support from traditional media – because you can work with that – than have an artist that’s not really got a particularly big fanbase but radio loves them and TV loves them. What does that matter if you’ve not got the fans?

We did always want to get promo because we would love to be able to expand Louis’ fanbase. But you’ve got to compete against Harry [Styles] and Niall [Horan]. They’re the first people you’ve got to compete against because, to play three One Direction members on the radio, I don’t know if radio stations would. Then you’ve got the sonic battle as well where he wants to keep it pretty raw.

The first single was ‘Bigger Than Me’, which is a big song to sing. It was a good bridge between the last album and this album. It gave the fans what they wanted.

We had really good feedback from radio. They played it to Clara [Amfo, Radio 1] without telling her who it was. She loved it and she did actually play it as one of the hottest tracks of the week. Greg James’s producers said it was brilliant. They absolutely adored it. Matt Edmondson and Mollie King’s team loved it. They thought it was great. But it got blocked at playlist conversations. It was like, Come on!

That was really disappointing because, pre-release, we were getting incredible feedback from producers, but we just couldn’t get it through the playlisting. We’d always planned for it not to go on radio, but if it got on radio that’d be just a brilliant bonus. So it didn’t harm our campaign strategy at all.

He’s too pop for indie stations and he’s too indie for the BBC [Radio 1]. It’s frustrating, but he’s making the music he wants to make and the fans love it. So what do you do?

‘Silver Tongues’ came out just before the album dropped, which was the official second single. That bridged the gap between those two singles. It was much more guitar based. It was up-tempo but it wasn’t too indie.

On the day that the album was released, fans bombarded Greg’s show on the 10 Minute Takeover [on the Radio 1 breakfast show]. And he played it! It was lovely but you could tell it was done like, “OK, I’ve done it now. Go away.” Which is just so sad because his demographic is right in that lane. It’s 18-25.

4 Targeting a male audience

‘Out Of My System’ was released as a DSP track, and that was really to show a different side of what was going to be on the album. It was the hardest one, the rockiest one, the speediest one, it was all about the band. It is one of the best streaming tracks on the album; it has really taken hold.

That was really just to get the male audience because we knew from the analytics we had prior to release that, although his demographics on social media are largely female, wider research that we did with our media teams said that he has a male fanbase. They’re just consumers. If they were to hear him on the radio, they wouldn’t turn it off – that kind of thing – but they’re not necessarily following him on social media. We knew that there was an opportunity there to reach another audience.

5 Building his songwriting profile

We just gave him creative freedom. Louis is really smart. He was the most proficient songwriter within One Direction. He has more songwriting credits than any of the other four members. We know that he’s a talented songwriter so it was just putting him together with people who can give him the confidence, like this album did, to move him out of his comfort zone.

There are some tracks on there that he will say were inspired by people like DMA’s and their album The Glow. ‘All This Time’ and ‘She Is Beauty We Are World Class’ have that slightly more experimental sound to them, which I think took a few people by surprise. He has really incredible writers like David Sneddon, Robert Harvey, George Tizzard and Rick Parkhouse. He has said multiple times in interviews that they gave him the confidence to have fun with it.

I don’t think he expected to get the amount of tracks that he did. It was a big album with 16 tracks. Then we put another three tracks on a digital deluxe edition in week one which shifted another 15,000 units globally.

6 Targeting the press

One of the big wins we had on this campaign was the NME coming on board. They were not interested last time. There was no music press. So one of our key targets on this campaign was to get music press.

We really wanted to get a Rolling Stone cover but the one we wanted to go for Harry was on. So we shifted and we retargeted the NME. We took them to Louis’ Away From Home festival in Malaga [in summer 2022]. He sold it out – 15,000 tickets in 24 hours.

NME did various interviews with Louis for their website and for their socials. They spoke to the bands that were on. It was a real seal of approval. And from that point onwards, we had nothing but great press from NME.

They supported everything – all the singles and we got a four-star review of the album. It was not like we bought it, but it was because we put them in the right place to really see him.

7 Boosting the digital strategy

There were two real strategic decisions that we made at the beginning that affected the outcome: one was the physical product strategy; and the other was the digital marketing strategy. If you don’t have traditional promo, and you’ve got an ardent global fanbase, digital is the most important way of getting your marketing across.

When we first started working with management, they said to us that there were some things that were non-negotiable. Everything should be fair, so we shouldn’t feel like we’re only offering things to fans of a certain demographic or to fans in a certain territory. It’s global. It’s got to be accessible. It’s got to be affordable. And it’s got to be innovative.

They are so good at doing things that break records and break the internet.

They did their livestream in 2020 and Louis sold over 200,000 tickets. It was the most-streamed livestream of a male solo artist during lockdown.

They had quite high expectations of the digital campaign going forward.

We spent quite a long time, about three months, prior to launching trying to figure out how we were going to break the internet.

With #LT369, we trended within about five minutes worldwide of that hashtag going out. When you tweeted the hashtag, it took you to a mini site where a Twitter map was starting to flag where people’s locations were. Over the course of the teaser week, the flags started to fall away but would leave ‘BTM’ which stood for ‘Bigger Than Me’, so we were teasing the single name.

We did a playlist builder and it was generated on socials as a cassette mixtape. You could share it and design your own cover on it. These were just things that really got the fans talking and engaged.

8 QR code and interactive community map at his Away From Home festival

The interactive map was linked to a QR code. We put QR codes around the festival site with absolutely no explanation as to what they were. But the fans notice everything.

We put the track titles from the album in pictures. They were really, really hidden. It took the fans two days [to work it out], but they observe everything.

Everyone started using the QR code. It took them to a website. We hadn’t announced at that point that the album was going to drop or that it was coming. It was a real mystery but that started the chatter going and we started getting trending hashtags for the album.

9 Twitter as his main platform and setting him up on TikTok

Twitter is his biggest platform [with 35.7 million followers]. What’s really interesting about that is that it’s super conversational, and you can see what they’re doing – as opposed to other platforms like Instagram and Facebook. He’s probably one of the only artists that still uses it as their primary platform.

He is really active on Twitter. He will go through bouts where he doesn’t post but then he’ll go on a reply rampage. He just replies randomly to people and does 40 in an hour. The fans go absolutely wild. Twitter was our key platform for launching initiatives and activations

There is a HQ account on TikTok and it crashed part of TikTok when it launched. Management love knowing that they crash things. We “crashed” our D2C site within minutes. There was a queue of 200,000 people in the D2C store at one point within the first hour of launching.

We didn’t technically crash the D2C store but, because of the size of the queue, it shut the storefront down which is what it does, and then forms a queue so that it doesn’t crash. We went on there and could see there were 200,000 people queuing.

10 Chart battle with Bruce Springsteen and the power of in-stores

I don’t think he ever thought he wasn’t getting a number 1 album. We beat Bruce Springsteen, we did it in Q4 and we doubled the numbers that Sony did week one last time [on Walls].

When we were in week one, and we were battling out with Bruce Springsteen, we said that there were an easy 3,000 units there if we put on four Banquet Records shows [at Pryzm in West London] and bundle the album with the tickets.

Every time they put a show on sale, you could see the numbers on the webpage. There were 200,000 people on there, even people who were not in the UK. They were ridiculous numbers.

It was more than Banquet has ever done. We sold out three shows in under a minute.

That was on release week. We had a really solid release week strategy so we knew that we had three shows in the pocket with Banquet.

We had two tracks that had not been released at that point, that weren’t on the album, that weren’t on the deluxe and that hadn’t been released as singles. We created a £4.99 digital album that had another two brand new tracks on it. You could only buy it as an album product and it was a D2C download.

We sold 15,000 of those globally in week one. We sold 6,000 in the UK. We did 3,000 extra records with Banquet in week one via the shows. We did an additional 3,000 with signed product that we put on sale in week one, because there were no other signed products in the market.

The digital super deluxe did 6,000 units. We ran multiple competitions. We gave away a signed guitar with HMV. We did a golden ticket to the tour with Crash Records.

We did a two-day pop up in Camden [North London] and Amazon contributed with signage. We did a one-day one in New York as well. We sold pop-up exclusive merch and we re-sleeved splatter vinyl with a London pop-up sleeve. We did around 2,000 of those. We did the same with the CDs and re-sleeved some CDs with the London pop-up. They were unique and fans could not get it again so they flew out the door. We had 3,000 people show up for it. That was full capacity.

We premiered the video for ‘Silver Tongues’, the second single, at the pop-up. That was the weekend of release but the single, which came out earlier that week, the video dropped on the Saturday.

11 Stationhead and Tim’s Twitter Listening Party

Stationhead is an interesting concept and we’ve done it a few times now. It’s linked to streaming, so every time you play a track within the show, it’s technically streamed by the amount of people that are listening to the show. Louis did one of those and, in terms of Stationhead’s history, it was pretty successful.

We got an email from Tim Burgess’s team saying they wanted to do a Tim’s Twitter Listening Party with Louis. They had such a good rapport and the fans were asking for it.

Beyond the chart units from the streams, it is the noise that it creates online that is more important to us.

It was one of their biggest re-listening streams, which is amazing when you think about the demographic that they have.

12 Fan-made Spotify Canvases

Across socials, we asked people to rework the ‘Bigger Than Me’ artwork. As a way of getting people to go and stream the track, we would change the Canvas semi-regularly so there was a reason for people to go and play it to see if their Canvas was one of the ones that had been selected.

The only downside is Canvases are only seven-seconds long. So if you go and you watch for seven seconds, it’s not your artwork and you come off, it can affect your average listening rate.

We were mindful of that. Our strategy was to do that post-pitching for any real major lists so that they weren’t looking at the data.

He has got really good listening data. It’s around 15 plays per listener which is way over the average. The save rate to libraries is huge and shows that he has really got a good lean-in listenership.

13 Documentary and the next steps

He’s going back on tour. He is back on another world tour from April starting in Asia and then he goes to North America. Then he comes back to Europe, culminating in an O2 show in London this time around in November. He previously did Wembley Arena.

The documentary [All Of Those Voices] premiered on 16th March and then went to worldwide cinemas on 22nd March for a week.

Charlie Lightening made it and went on tour with Louis. He had previously made the Liam Gallagher documentary [As It Was]. Historically he’s done most of Louis’ music videos as well. It was only this time around that we wanted to branch out and see if we could do something a little bit different.

It goes from the band through to his personal life and where he is now. There is a massive focus on the tour. It will blow people away to see what the Louis franchise looks like. This kid has an amazing franchise and most people just don’t have any clue about it.

The recordings business is such a small part of what he does. Obviously it helps to have records out to sell merch and to go on tour. That’s where he really excels.

I’ve never worked on a project where the fans are like they are. You get to see your visions immediately. You get to see the reactions immediately. You get to see the activation work immediately. That is such a buzz.

On most other projects, you launch something and then you have to market it and push it. This was more about pre-strategy, because you know that when you launch something, if you get it right, it’s going to work and you’ll get to see that reaction immediately. That was so much fun. Campaigns like that are rare.

#BMG #FITF promo #or more accurately. the lack of it

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roo-bastmoon · 1 year

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How to help Jimin this week

This is for US/PR ARMYs. International puppykitties, please keep going with whatever you know works in your countries. Fighting!

So last week, you might have bought Jimin's two physical albums and/or digital versions at Target, Amazon, iTunes, and WeVerse. And when the alternative covers for the digital album dropped on the BTS US store, maybe you got those too. If you didn't? Please do that by this Wednesday night at the latest.

So what happens this week, to avoid free fall?

Welp, you can buy the digital album on Qobuz using your Facebook login if you want, it's very easy. You can go pick up the 4 physical single CDs from the BTS US Store, if you wanna do that.

You definitely should make use of Jimin Funds, which will help you use PayPal, or you can go buy your own gift cards (pre-paid VISA or iTunes gift cards), and then you make new emails and just pick up the 5 digital versions of Like Crazy, which cost a whopping $3.70 all told. You can do this on iTunes and the BTS US store!

You should sign up for free trial premium streaming if you haven't already with Apple, Amazon, Spotify, and YouTube--and then a JRJ-OT7 Face-focused playlist should be playing on your computers, tablets, phones, and smart TVs 24/7 this week. On Spotify, you swamp accounts after 20 plays and on YouTube you swap accounts after 50 plays. Remember you can buy a song for 69 cents or you can play a song 150 times on a premium account.

And you need to tweet or call your local radio stations and politely ask for them to play Like Crazy English Version every morning and every evening.

Finally, please turn on notification for VoteforPJM and follow their instructions. You'll want to watch videos every day on the idol apps (Mubeat, FanStar, IdolChamp, etc.) so you can gather up free tickets to vote for Jimin to win awards. TMI? I literally do this when I go to the bathroom. I'm a captive audience anyway and it only takes a few minutes.

Listen...

I know you're tired. I know it's been a hell of a week. I know we have other members we will need to support soon. But from now until April 21, we fight and fight hard.

When you get tired, remember that Jimin used to diet until he passed out. Jimin used to work in the studio until 4am and then go to school at 6:30am and get straight A's. Jimin used to go on world tours while also getting his BA and MA and being a UN ambassador. Despite COVID and appendicitis and mail tampering and apartment seizure and death threats, Jimin worked hard on concerts and his album and Expo duties--even falling asleep in the studio most nights. For 10 long months, Jimin quietly took his pain and his loneliness and he turned it into art. He coded and he hid a love track... and he paid to do music shows and did fan calls... all for fans because he had something to share with us... and those of us who love him clearly see what he meant us to.

He did all this, and he made history. And the first thing he did was come live to credit BTS and ARMY.

Of course ARMY will have his back now, right?

#jimin #park jimin #jikook #face by jimin #like crazy by jimin

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michaelespositostatenisland · 1 month

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Michael Esposito Staten Island - 10 Essential Strategies for Effective Influencer Marketing

In the bustling world of digital marketing, influencer marketing has carved out a niche that combines the power of social proof with the reach of digital platforms. Whether you're a seasoned marketer or a business venturing into the influencer realm for the first time, mastering the art of influencer marketing can significantly amplify your brand's visibility and engagement. Here are ten essential strategies to harness the power of influencer marketing effectively, inspired by the expertise of Michael Esposito Staten Island, an influencer marketer extraordinaire known for his impactful presence in the digital age.

1. Define Your Goals Clearly

Having clear objectives is the cornerstone of any successful marketing campaign. Whether it's boosting brand awareness, increasing sales, or driving website traffic, setting specific goals helps in tailoring your strategy and measuring success effectively.

2. Understand Your Audience

Knowing your target audience inside out is crucial. Understanding their interests, behaviors, and preferences helps in selecting the right influencers who resonate with your audience.

3. Choose the Right Influencers

Choosing influencers who align with your brand's values and ethos is vital. It's not just about the numbers; engagement rates, audience trust, and content quality matter too. Michael Esposito from Staten Island exemplifies an influencer whose authenticity and digital savviness have made him a significant figure in the influencer marketing world.

4. Foster Authentic Relationships

Building genuine relationships with influencers can lead to more authentic and engaging content. Authenticity is key in influencer marketing, as it enhances trust and relatability.

5. Leverage Multiple Platforms

Don't limit your influencer marketing efforts to a single platform. Explore opportunities across various platforms where your target audience is most active, be it Instagram, YouTube, TikTok, or others.

6. Focus on Quality Content

Quality content is what sets great campaigns apart. Collaborate with influencers to create content that is engaging, informative, and aligns with your brand messaging.

7. Utilize SEO Strategies

Incorporating SEO strategies, such as keyword optimization in content and leveraging influencer-generated content, can significantly improve your campaign's visibility online. Remember, good writing and SEO go hand in hand to create content that is not only engaging but also ranks well on search engines.

8. Track and Measure Results

To gauge the effectiveness of your influencer marketing campaigns, it's essential to track key performance indicators (KPIs) such as engagement rates, conversion rates, and ROI. This data will help refine your strategy over time.

9. Stay Updated on Trends

The digital landscape is constantly evolving. Staying abreast of the latest trends and platform updates can help you adapt your strategy to maintain its effectiveness.

10. Emphasize Transparency

Transparency and disclosure are critical in maintaining trust with your audience. Ensure influencers clearly disclose sponsored content to comply with FTC guidelines and maintain audience trust.

Influencer marketing, when executed properly, can be a game-changer for brands looking to expand their reach and connect with audiences in a meaningful way. Michael Esposito Staten Island — Influence in the Digital Age serves as a prime example of how influencers can wield significant influence in driving engagement and brand loyalty through authenticity and strategic collaboration. By following these ten essential strategies, you can create effective influencer marketing campaigns that resonate with your audience and deliver tangible results.

#10 Essential Strategies #Emphasize Transparency #Track and Measure Results #Leverage Multiple Platforms #Understand Your Audience #Effective Influencer Marketing #influencer marketing campaigns #Michael Esposito Staten Island #influencer marketer extraordinaire

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apptechbuilders · 10 months

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Cross-Platform App Development Services: Breaking Barriers and Expanding Reach

In today's digital era, mobile applications have become an integral part of our lives. Whether it's for social networking, e-commerce, or productivity, mobile apps have revolutionized the way we interact with technology. However, developing an app that can cater to the diverse needs of users across different platforms can be a daunting task for businesses. This is where cross-platform app development services come into play.

What is Cross-Platform App Development?

Cross-platform app development is the process of building mobile applications that can run on multiple operating systems, such as iOS and Android, using a single codebase. Unlike native app development, which requires separate codebases for each platform, cross-platform development allows businesses to save time, resources, and effort by creating a single app that works across various platforms.

The Advantages of Cross-Platform App Development:

1. Cost-Effectiveness: Developing separate apps for different platforms can be expensive. Cross-platform development enables businesses to significantly reduce costs by reusing a single codebase across multiple platforms. This approach also minimizes the need for hiring platform-specific developers, resulting in further cost savings.

2. Time Efficiency: Cross-platform frameworks and tools provide developers with the ability to write code once and deploy it on multiple platforms. This drastically reduces the time required for development, testing, and deployment, allowing businesses to bring their apps to market faster and gain a competitive edge.

3. Consistent User Experience: With cross-platform development, businesses can ensure a consistent user experience across different platforms. By using a single codebase, developers can maintain design and functionality consistency, resulting in a seamless experience for users, regardless of the device or operating system they use.

4. Wider Market Reach: By developing a cross-platform app, businesses can reach a broader audience as their application can run on various devices and operating systems. This expanded market reach enhances brand visibility and increases the potential user base, leading to greater customer acquisition and revenue generation.

5. Easy Maintenance: Updating and maintaining separate codebases for different platforms can be challenging. Cross-platform development simplifies the maintenance process as changes and updates can be applied to a single codebase, ensuring consistency and reducing the chances of introducing bugs or inconsistencies across platforms.

Choosing the Right Cross-Platform Development Framework:

When it comes to cross-platform app development, there are several frameworks available, each with its unique features and capabilities. The choice of framework depends on various factors such as project requirements, target audience, performance needs, and developer expertise. Some popular cross-platform frameworks include React Native, Flutter, Xamarin, and Ionic.

Partnering with Cross-Platform App Development Services:

While cross-platform app development offers numerous benefits, it requires technical expertise and experience to leverage the full potential of these frameworks. This is where partnering with cross-platform app development services can make a significant difference.

Professional app development services specializing in cross-platform development have the necessary skills, knowledge, and resources to create high-quality, feature-rich applications that can run seamlessly across multiple platforms. These services understand the intricacies of various frameworks, ensuring optimal performance and user experience.

Additionally, cross-platform app development services keep up with the latest industry trends and advancements, allowing businesses to incorporate cutting-edge features and technologies into their applications. They also provide ongoing support, maintenance, and updates, ensuring that the app remains up-to-date and compatible with the latest devices and operating system versions.

Conclusion:

Cross-platform app development services have emerged as a game-changer for businesses looking to develop mobile applications that can reach a wider audience while optimizing costs and development time. By leveraging the benefits of cross-platform development, businesses can break barriers, expand their reach, and deliver engaging experiences to users across multiple platforms.

Whether you are a startup or an established enterprise, partnering with cross-platform app development services can unlock new opportunities and drive your business forward in the ever-evolving mobile landscape.

Source

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authoralexharvey · 1 year

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INTERVIEW WITH A WRITEBLR — @nectargrapes

Who You Are:

Cammie || She/her

I am an indie author of an upcoming gothic fantasy trilogy, THE ESSENCE OF THE EQUINOX. My work currently features in Cloaked Press and midnight & indigo.

What You Write:

What genres do you write in? What age ranges do you write for?

Fantasy and horror. Adult.

What genre would you write in for the rest of your life, if you could? What about that genre appeals to you?

Fantasy. The higher the better. I often write to get away from myself and my own head and fantasy is the easiest genre that lets me do this. I love worldbuilding and thinking up weird and whimsical settings to place my stories into. I was a maladaptive daydreamer as a child who always fantasised about leaving the real world and going to a magical place that was far better and it’s a thing that never really left me. That isn't to say that my stories are always hopeful and idyllic, as other people constantly tell me they are most certainly not. But I also like the freedom fantasy gives me to write what I want how I want without being beholden to the world as it is now and how it functions.

What genre/s will you not write unless you HAVE to? What about that genre turns you off?

Romance. I dislike the structured, formulaic format of it and it pains me to have to be beholden to writing exclusively about a romantic relationship and a happy ending. Plus what's popular and marketable in the genre has always personally alienated me as a bisexual woman.

Who is your target audience? Do you think anyone outside of that would get anything out of your works?

My target audience is for women who have always felt a little off. Out of place. Weird and alienated. The ones who cannot relate to the need for cosy, low-stakes and romance-driven stories but are also maligned by the vicious misogyny found in darker works created by men. I like to think I can offer a happy medium. A place for women to be aberrant and explore darkness, bleakness and hopelessness without degradation or dismissal.

What kind of themes do you tend to focus on? What kinds of tropes? What about them appeals to you?

I always get drawn to power-hungry women. Women who want things. Women who are cold and driven and focused. I also write a lot about terrible mothers because I relate deeply to women who can't find it within themselves to be naturally caregiving. And I write a lot of doomed, tragic relationships because that sort of high dramaticism and romanticism appeals to me. Cannibalism tends to feature in a lot of my stories. It's a theme that's mainly about consumption, possession and mastering those by taking their power from them.

What themes or tropes can you not stand? What about them turn you off?

Anything that relies on a false sentiment I find to not be true to life. Love conquers all. People abandoning their beliefs, principles and personality traits to be in a relationship with someone else (most enemies to lovers leaves me cold for this reason). Relentless pursuers getting the girl in the end. A woman giving up her magical power or supernatural gift to be a normal girl in the end. In general anything that focuses on women upholding traditional values will not be for me.

What are you currently working on? How long have you been working on it?

I am currently working on a high fantasy trilogy called THE ESSENCE OF THE EQUINOX. It's a gothic tale set in a vibrant gaslamp world full of all my favourite things that I spoke about before. It's been an idea fermenting in me since I was 13 but I started officially working on it in 2018.

Why do you write? What keeps you writing?

I write because it's the only thing that gives me true solace, joy, and a sense of accomplishment. When life becomes a chore, which it often does for me, writing gives me salvation.

How long have you been writing? What do you think first drew you to it?

I've been writing since I was in the single digits. I would often take inspiration from animated films and shows I enjoyed as a child and that later turned into me writing fic for various fandoms and joining forum roleplays. I was a maladaptive daydreamer who always crafted stories in my head and since I had no way to turn them into animations or games then writing was the easiest path. That isn't to say I think writing is lesser. I am immensely fond of the craft and wouldn't have chosen otherwise.

Where do you get your inspiration from? Is that how you got your inspiration for your current project? If not, where did the inspiration come from?

I get inspiration from various things. Shows, movies, video games, art and photography. Anything can become an inspiration under the right circumstances and my stories often echo the various media I've fixated on over the years. My current project was probably the most heavily influenced by my forum roleplayer background as well as vintage fantasy novels.

What works of yours are you most proud of? Why?

At current, I am most proud of The Sanguine Sorceress. I thought it was a very raw, emotive and cathartic piece of writing and it has some of my favourite quotes and passages.

Have you published anything? Do you want to?

I have published a short story set in the TEOTE universe following the MC's mother. It features in the Fall into Fantasy 2022 edition. I also have an upcoming short story in midnight & indigo. I had originally intended to tradpub TEOTE but that fell through so I have taken destiny into my own hands and decided to self-publish.

What part of the publishing process most appeals to you? What part least appeals to you? Why?

What appeals to me most is finding an audience and getting recognition, connecting with likeminds, having other people study and analyse my work and draw meaning and merit from it. The part that least appeals to me is marketing. I find that in today's climate especially it requires you to reduce your work into easily digestible tropes and shallow identity politics to an audience increasingly focused on commodification and instant gratification, as opposed to artistic integrity.

What part of the writing process most appeals to you? What part is least appealing?

All of it appeals really. There are challenges along the way, but I wouldn't say I find anything unappealing about the process.

Do you have a writing process? Do you have an ideal setup? Do you write in pure chaos? Talk about your process a bit.

I don't really have an official one to speak of. I find what works best for me is to dive headfirst into it writing the roughest, purest draft I can possibly muster and then clean it up afterwards.

Your Thoughts on Writeblr:

How long have you been a writeblr? What inspired you to join the community?

It'll be four years in April! Well. I had another writeblr briefly in the summer of 2018 that I deleted but it'll be four years on this blog. I joined because I was eager to find and make friends with likeminded people who write original content, as opposed to a fandom which I had just left. Pleased to say I accomplished my goal.

Shout out some of your favorite writeblrs. How did you find them and what made you want to follow them?

Here's hoping I don't forget anyone, haha. @queenslayerbee, @missbrunettebarbie-writer, @starry-sky-stuff first and foremost whom I found kinship among through our discussions of female characters and the treatment of women in media. I find our sensibilities are the most compatible and I've had the most stimulating discussions with them. Other writeblrs I enjoy are @monstrousfreedom, @westcountrygothic, @flowerprose, @tryingtimi, @bloodlessheirbyjacques, @bebewrites, @authoralexharvey, @redotter, @asablehart, @pinespittinink, @sentfromwolves and @muddshadow.

What is your favorite part about writeblr?

Mostly having a place I can shout about my WIPs and have people encounter me through and then I can watch other people shout about their WIPs. I like being able to get to know people character's intimately to make memes and inside jokes about them and send each other asks. It's all good fun.

What do you think writeblr could improve on? How do you think we can go about doing so?

Writeblr isn't really a great place if you want constructive feedback or if you're trying to hustle. But the latter part is why I think it's retained its purity.

How do you contribute to the writeblr community? Do you think you could be doing more?

I don't really contribute as much anymore because I'm admittedly trying to be more "professional" about things. But I would often make ask games, send asks and hype up my friends. I still do some of these things but my involvement in writeblr is more on the fringes these days.

What kinds of posts do you most like to interact with?

I like ask games, writing memes and excerpts.

What kind of posts do you most like to make?

I make a lot of rambling thought posts and in the past I would post quite a few excerpts but I don't do the latter as much now.

Finally, anywhere else online we may be able to find you?

You can find me on my author blog, @aninkwellofnectar. I am also on Instagram and Tiktok, and on Twitter. I also have a substack under the same name and will soon have an official website aninkwellfonectar.com

Questions For Fun:

If your writing was a dish, what dish would it be? (bonus, have you ever eaten this before?)

Which character of yours would you say is most like you? Who is least like you? Were either of these intentional?

People have told me my writing resembles champagne and chocolates, a 5 star course meal, and that it's something they like to take their time with. So if I had to decide I think I would go with a rich chocolate mousse dome with hazelnut praline, a topping of toasted almonds and sprinkles of gold leaf paired with pink champagne. I have had something similar but not exactly.

The character most like me is definitely Darius which probably sounds alarming if you've met Darius but it becomes truer to me the more I write him and the more I discover about myself emotionally. He does reflect a lot of my most unflattering traits I think and exploring that in fiction has become a healthy outlet for this. As for the least like me, it's Laila. Perhaps unusual a choice for a protagonist but I enjoy the challenge she presents. She's in many regards what I look to as a "perfect woman" not to say I wrote her to be perfect but I like to look at her as an ideal and a muse. She's my dream girl, essentially.

If you could have a conversation with any writer, alive or dead, who would it be and why?

Probably Hope Mirrlees because I'm so fascinated by her lifestyle and I'd love to know more about how she attained such independence for herself in the past and to exchange craft tips with her.

#iwaw #writeblr celebration #writeblr event #writeblr #writing community

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louisupdates · 1 year

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BEHIND THE CAMPAIGN: LOUIS TOMLINSON

MUSICALLY | 19 APRIL 2023

Lisa Wilkinson, director of UK marketing (new recordings) at BMG, explains how they looked to reposition him in the market, what learnings were coming from his live success as well as his own festival, and more.

[The article will be broken into sections, linked below.]

1. Coming to BMG for his second solo album

2. The centrality of merchandise

3. The radio conundrum

4. Targeting a male audience

5. Building his songwriting profile

6. Targeting the press

7. Boosting the digital strategy

8. QR code and interactive community map at his Away From Home festival

9. Twitter as his main platform and setting him up on TikTok

10. Chart battle with Bruce Springsteen and the power of in-stores

11. Stationhead and Tim’s Twitter Listening Party

12. Fan-made Spotify Canvases

13. Documentary and the next steps

☆彡

1. COMING TO BMG FOR HIS SECOND SOLO ALBUM

This is his first album with BMG. His debut album, Walls in 2020, was with Syco Music [via Sony]. That was off the back of X Factor with Simon Cowell.

You can see from his live business and his merchandise business – and every other thing that Louis does – that there is an incredible fanbase there for him.

When they [Syco] released Walls, they achieved 14,000 units in week one and got to number 4 in Q1 in January 2020. We thought that just didn’t feel reflective of what was happening [around him].

We went and saw him at various venues on his world tour. We went to New York and saw those two shows and we went to Italy and watched his Milan stadium show in front of 30,000 people.

You’re looking and you’re thinking, “Those numbers don’t make any sense. How on Earth did you fumble that?” We were confident that we could do better than that.

He had a signing dinner in October 2021 and then his world tour started in February 2000, which was the delayed tour [due to the pandemic]. It went all the way through to September, pretty much nonstop.

They sold half a million tickets that year. All the while he’s on tour, he’s still making the album.

He wanted to make an album for live. It was a totally different experience for him. Covid hit just a few months after Walls dropped so the tour was out of the question.

Considering this is someone who hasn’t had real radio support or is seen in celebrity magazines or on social posts, this is a huge phenomenon.

That continued into the tour.

#louis tomlinson #lisa wilkinson #louis press #bmg marketing #19.4.23 #musically #louis masterpost

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badoccultadvice · 1 year

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What if every time Chris Pratt was supposed to say Luigi he said Weegee instead, would that appease the masses?

I honestly think there's a real expectation that Nintendo would switch to the video game actor for Mario's movie voice. Question: do you hate Mario's original voice actor, Charles Martinet, so much that you would select him to go to every press junket, red carpet, bullshit interview, podcast, night show appearance, and social media event that Chris Pratt has had to go to for what is an international blockbuster movie's media campaign? In this age of covid no less?

Because I get it, it would have been nice for Martinet to do the voice. I think so too. But the media promotion machine is part of what killed Carrie Fisher. I don't think she was able to handle that ride anymore. A lot of celebrities end up taking hard drugs and doing a lot of dangerous things to be able to keep up with the pace of the modern movie industry's promotion demands.

Chris Pratt signed up for that life. He's in his prime years. He does it all the time so he's in shape for it already. Charles Martinet is 67 years old, and good on him for handling all the E3 appearances he has, but that's not the same world as Hollywood.

Charles Martinet voices an italian plumber in videogames for a living. Let him have some more years with his grandkids. Chris Pratt's performance is fine and you were never going to get Charles Martinet's performance instead of his. That exchange was never going to seriously happen. So stop judging Chris Pratt as some man depriving you of Charles Martinet--if it wasn't Chris Pratt, it would have been another A-lister who would be as or better able to handle the demands of an international Hollywood job.

The target audience for this movie is kids in their single digits who are accompanied by their parents. We are not the focus group. Maybe realign your expectations with the reality of the situation.

#the chris pratt hate is weird to me because it's like hating mayonnaise #i just can't see how one could even experience that strong an emotion about mayonnaise

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crossnetics · 19 days

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Crossnetics: a platform for earning influencers

Introduction to Crossnetics

Crossnetics is a multifunctional platform for Influencer Marketing that makes it easy to find Influencers, digital specialists, and advertisers. Based on blockchain, the platform guarantees secure collaboration thanks to smart contracts. Crossnetics offers influencers a unique opportunity to earn and promote through mutual PR with bloggers with your target audience, and facilitates effective brand engagement.

You already have everything you need to gain global reach and increase your income! Crossnetics will help you with everything from accessing advertisers to withdrawing funds from anywhere in the world!

Benefits of Crossnetics for Influencers

ONE-STOP PLATFORM

On Crossnetics, all aspects of advertiser interaction are centralized. Influencers can manage campaigns, track their performance, and communicate with advertisers through a single system.

THE SMART SELECTION OF TASKS

With Crossnetics' advanced analytics tools, Influencers can find projects that match their audience's interests. This increases the chances of successful interactions and increased revenue from advertising campaigns.

SMART CONTRACTS TO PROTECT YOUR REVENUE

Smart contracts on Crossnetics automate the fulfillment of deal terms, ensuring transparency and fairness in payments. Influencers can rest assured that all campaign terms will be strictly followed, and payment will be made in full as agreed.

AFFILIATE MARKETING

Crossnetics allows Influencers to participate in affiliate programs, expanding earning opportunities through affiliate links and promo codes. This approach increases potential revenue and will enable Influencers to offer exclusive discounts and offers to their audience.

Crossnetics Mutual PR for Influencers

The Crossnetics platform provides unique opportunities for cross-promotion, allowing influencers to expand their audiences and strengthen their professional relationships. From audience sharing to collaborative projects, learn how to utilize these tools to increase your visibility and revenue.

Crossnetics uses advanced analytics tools to analyze audiences, allowing Influencers to find peers with similar or overlapping audience interests. The platform also makes it easy to organize collaborative promotions and events such as joint broadcasts, blog posts, or joint contests. With smart contracts, Crossnetics ensures that all terms of cooperation are met, which is important when organizing cross-promotions. Influencers can be sure that all agreements will be honored and their rights and interests protected.

Crossnetics offers tools to automate routine processes related to reciprocal PR.

Crossnetics' Mutual PR platform is a powerful tool for expanding your influence and strengthening your professional relationships in influencer marketing. With the platform's sophisticated tools and support, every Influencer can effectively utilize cross-promotion to achieve their business goals and increase revenue.

WHY DO INFLUENCERS CHOOSE CROSSNETICS?

Crossnetics is your ideal partner to grow your revenue. The platform provides all the tools and opportunities you need to realize your ambitions. Crossnetics works with a wide range of brands worldwide, giving Influencers unique opportunities to collaborate. Whether local startups or international corporations, every Influencer will be able to find the right projects that match his or her interests and audience.

Crossnetics provides access to an in-depth analysis of campaign performance. Influencers can track reach, audience engagement, and conversion rates, allowing them to optimize promotion strategies and increase revenue from each campaign.

Regardless of the geographic location of your audience, Crossnetics will enable you to monetize them internationally. This means you can attract subscribers and earn from audiences not only in your country but also beyond.

Crossnetics offers simple and reliable ways to withdraw your earnings. With smart contracts and reliable payment systems, you can quickly and securely transfer your earnings via web3 wallet, regardless of your location.

Using Crossnetics, Influencers get a platform for cooperation with advertisers and a powerful tool for achieving international success and financial well-being.

Conclusion

Using the Crossnetics platform gives Influencers access to a wide range of tools to monetize their content. With Crossnetics, Influencers can not only make money but also build strong partnerships with brands based on advanced technologies and transparent terms of cooperation.

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