Archive for the ‘Social Marketing’ Category

Shout! Factory Ups Michael Ribas To SVP, Marketing And Product Management – Deadline

EXCLUSIVE:Shout! Factory on Wednesday announced their promotion of longtime senior executive Michael Ribas to Senior Vice President of Marketing and Product Management.

Most recently serving as Vice President of Marketing, Ribas has been with Shout! Factory since 2003, prior to that holding editorial and product-management positions at the San Francisco company, WetFeet.

In his elevated position, Ribas will report to CEO Garson Foos and EVP of Strategy and Digital, Gene Pao, continuing to collaborate closely with both executives on big-picture strategy supporting the companys long-term growth. While leading marketing and product management strategy for all initiatives and properties apart from kids and family entertainment, he will continue to oversee advertising, corporate branding, convention and trade-show activations, digital streaming, theatrical rollouts, partnerships, product management and social marketing for Shout! Factory, Shout! Studios and Shout! TV. Hes also in charge of the marketing and promotion of Shout!s Mystery Science Theater 3000 franchise, which includes the new series and licensing and merchandising.

Michael is a high-level strategist and a successful leader. His business acumen and strategic thinking have contributed greatly to the success of Shouts overall business, said Shout! EVP, Pao. He has driven the growth of many business verticals by super-serving our content partners and maximizing business opportunities. All of this and his strong leadership skills have made him an invaluable leader at Shout!.

Added Ribas in his statement to Deadline: After nearly 20 years at Shout! I remain energized and excited by the opportunity to not only connect fans with the movies and series they love, but to also introduce them to new ones that just might become the classics or cult favorites of the future.

A multi-platform media company focused on film and TV distribution, development and production, Shout! Factory was founded by Richard Foos, Bob Emmer and Garson Foos in 2003. The companys current partners and properties include Gkids, Sesame Street, Laika Studios, The Carol Burnett Show, The Johnny Carson Show, Stephen J. Cannell Productions, ALF, ITV Studios and Major League Baseball Productions. It also owns and operates libraries including the aforementioned Mystery Science Theater 3000 (in partnership with creator Joel Hodgson) and the Roger Corman New Horizons Pictures Library, all while operating Shout! TV.

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Five Practical Strategies to Navigate Your Social Marketing While … – Subscription Insider

Twitter is like a merry-go-round. Users watched it from afar, thought it looked interesting and hopped on for a spin. It was fun at first, under previous owners. Though there was the occasional breakdown, things went smoothly for the most part, as the social media platform added features and enriched the user experience. Then a new operator (Elon Musk) took over and the merry-go-round became unpredictable, speeding up at first and then slowing down. The operator replaced old horses with new ones, raised the price of admission, and eventually kept some users off the ride altogether.

Since Musk took over the social media platform in October of last year, it has become a circus and people are jumping off the merry-go-round before they are thrown off. Twitter has become unpredictable, and the ringmaster grows more volatile by the day. This is particularly interesting since Ringmaster Musk vowed to step down as CEO as soon as someone foolish enough to take the job would replace him.

And the merry-go-round continues. Here is just a sampling of the most recent news stories about Twitter. We say sampling, because as soon as we hit publish, this article will be outdated.

NPR has 52 official Twitter feeds, and the news organization said Wednesday that it will no longer post fresh content to those feeds. The reason for jumping off the merry-go-round? Twitter labeled NPR as a state-affiliated media organization; the social media platform later revised it to government-funded media. As a private nonprofit company, NPR said this is both inaccurate and misleading. NPR CEO John Lansing said the company receives less than 1% of its annual $300 million budget from the federally funded Corporation for Public Broadcasting.

By leaving Twitter, NPR is protecting its credibility and its ability to produce quality journalism without a shadow of negativity.

We are turning away from Twitter but not from our audiences and communities. There are still plenty of ways to stay connected and keep up with NPRs news, music and cultural content, said Lansing. We will also continue to maintain a presence on our other social platforms.

Though NPR remains on Twitter for past content, it is still labeled government-funded media.

Musk countered with this tweet and linked back to the language on NPRs website.

PBS is also leaving Twitter because of the government-funded media label added to their profile, says USA Today. A spokesperson for PBS confirmed that the Public Broadcasting System does receive some government funding, but it is a small portion of their overall funding, similar to NPR.

Twitters simplistic label leaves the inaccurate impression that PBS is wholly funded by the federal government, said Jason Phelps, senior director of external communications for PBS.

PBS is not posting new content to Twitter and has no immediate plans to resume posting. However, they are monitoring the situation, USA Today reports.

Mike Donoghue, co-founder and CEO of Subtext, has been following the Twitter saga for the last year, and he wasnt surprised to see NPR and PBS leave the platform.

I think it was probably an easier conclusion to arrive at than many people would think, Donoghue said. Twitters relationship with the media and other creators has always been extremely one sided, and its pretty easy to unpack.

Donoghue analyzed the situation on LinkedIn yesterday, and he gave us permission to share his analysis.

When creators use Twitter, Twitter gets:

When creators use Twitter, creators get:

In March, Musk said that legacy checkmarks for verified accounts would be removed for Twitter Blue nonsubscribers effective April 1. As of that date, the only organization to lose its legacy blue checkmark was The New York Times because they publicly said they would not pay $1,000 a month for verified status. Musk has pushed the date back for legacy checkmark removal to April 20, according to an April 11 tweet.

Meanwhile, a number of media organizations and other organizations and celebrities have said they will not pay for checkmarks on Twitter. Here are a few who are saying no to a Twitter Blue subscription:

The general feeling is that, because of Twitters actions in the last five to six months, verification status and checkmarks on Twitter no longer establish authority or credibility. Instead, they can be bought.

In a letter from Rep. Jim Jordan (R-OH) sent Wednesday to Federal Trade Commission Chair Lina Khan, the House Judiciary Committee said they would issue subpoenas to get the requested information about Twitter since it wasnt provided voluntarily, reports media Post. At issue is whether or not Twitter misled users when it asked for user email addresses and phone numbers for security, but that information is believed to have been used for ad targeting.

According to Media Post, the FTC is also investigating behind-the-scenes information that Twitter may have shared information with journalists about certain editorial decisions. Previously, the committee said they felt the FTC was harassing Twitter for reinstatements of prominent conservatives. In related news, Musk has asked the FTC for a meeting, and they turned him down.

Earlier this week, Twitter Inc. has merged with Elon Musks privately-held X Corp and is now domiciled in Nevada rather than Delaware, reports the Wall Street Journal. Technically, Twitter no longer exists as a corporation. In an interview with the BBC this week, Musk said that his goal was to create X, the everything app, and added that Twitter is an accelerant in this plan.

Twitter has become an important platform for millions of monthly active users (MAUs). In fact, SproutSocial reports that Twitter has 556 million MAUs, and 53% of them use the platform for news. More than half of Twitter users are men, and U.S. adults spend an average of 34.8 minutes on Twitter daily. While those statistics are impressive, news organizations, subscription companies and others who are jumping ship are exploring Twitter alternatives. Here are three to consider.

While Mastodon is often part of the Twitter alternative conversation, Mastodon is a very different type of social networking platform. It is a decentralized, free, open-source platform. Rather than joining Mastodon, users join a specific server that is managed by an individual, group of people, or an organization. Users can join multiple servers, follow people and have people follow them. Users can also create their own servers.

The Verge explains that, on Mastodon, users post toots instead of tweets and toots have a 500-character limit, nearly double the limit of Twitter. Posts may include images, video or audio files, and they can be edited after they go live. Mastodon supports the use of hashtags to help users find posts of topics of interest. Useful resources about Mastodon include this Guide to Mastodon by @[emailprotected] and a comparison of Twitter alternatives by Teri Kanefield.

Social networking thats not for sale, Mastodon says on their home page. Your home feed should be filled with what matters to you most, not what a corporation thinks you should see. Radically different social media, back in the hands of the people.

Post.news bills itself as a social platform for real people, real news, and civil conversations. Users can discover, follow, share and support diverse voices on topics they care about, the website says. It also says that users can access journalism from premium publishers without subscriptions or ads. Instead, users pay for what they read with micropayments. For news publishers, Post.news allows them to create content; monetize and manage that content; and grow their audiences. Among the publishers that are trying out Post.news are:

With a flexible content editor, creators can write, format and embed their content. They can also find audiences interested in the topics they cover, and they can monetize their work through tips, donations or put up a micropayment paywall. Creators can set up their content so that readers can just pay for what they read, or they can push their readers to subscribe to their content.

Another Twitter alternative is T2 which is currently accepting people to its waitlist. On the waitlist questionnaire, T2 asks if the applicant has a Twitter account, their current Twitter handle, and three choices for a T2 handle if accepted. The platform looks very similar to Twitter. Some users have a purple checkmark next to their names, indicating they are Twitter legacy users or have been T2 authenticated. Like tweets, individual posts can be commented on, shared, loved and flagged.

Each user has a profile page, very similar to Twitter. The site has a 280-character limit per post. Without an account, it does not appear that the feed can be altered, but prospective users can lurk for now. Here is an example of Fast Companys T2 profile page.

The platform was co-founded by Gabor Cselle, CEO, who previously worked at Google; Sarah Oh, formerly of Twitter and Facebook; and Michael Greer, CTO, who worked at Discord and was the co-founder of TAPP Media. The About Us page says that T2 is a place to have the authentic conversations weve always wanted to have.

We believe in the basics: offering simple tools and creating space for human conversation. Were working to build an elegant, sustainable, and hospitable place that recaptures what we all used to love about the internet, T2 says.

Even with hundreds of millions of MAUs, Mike Reilley, data and journalism professor at the University of Illinois Chicago, a trainer for the Google News Initiative and the founder of Journalists Toolbox, thinks Twitter can be replaced.

Anything can be replaced, especially if Elon Musk continues to screw it up, Reilley told us. While some have left when he took over and headed to Mastodon, Post.news, etc., many have stayed, primarily journalists. And with Journalists Toolbox, I have to go where the audience is. And thats still Twitter. I post on the other channels, but Twitter is still the best way for me to engage with my journalism audience.

We asked Reilley if he felt there was a way for Musk and Twitter to turn things around to prevent a mass exodus.

Hopefully, Elon finds a new toy and moves on, and the developers and managers take over and improve it. Hes a total madman with how he does things see Tesla among others but if hes not hovering over them, they can really work on making it a great thing, Reilley said.

Reilley gave the example of early concerns about Jeff Bezos, founder of Amazon, purchasing The Washington Post.

People panicked that he was going to turn the place into a circus, Reilley said. Its worked out OK, and he has tech developers working with journalists to do some amazing things.

As a journalism and data expert, we asked Reilley which Twitter alternative he liked best. Post.news is his preference right now. He can write longer posts, monetize them, and hotlink out of the post.

They have some work to do with the platform, but I much prefer it to Mastodon, said Reilley.

For journalism organizations specifically, Reilley said they need to spray to a lot of fields on social and see what sticks.

Reilley said, Maybe your audience forms on Post, maybe your Substack newsletters gain traction. Who knows? But they need to have a presence everywhere and see where they can best engage the reader. Thats a lot of work, but its the nature of the beast.

As companies watch Musk and the merry-go-round spin in frantic circles, those who use Twitter as part of their marketing and outreach strategy need to find other avenues. Here are five things subscription companies can do while Twitter figures itself out or a better alternative emerges.

No one can predict what Musks true intentions are or what his next moves will be. While he may be a genius, he is also a volatile businessman who makes impulsive decisions. He cherry picks the rules he wants to follow, and he doesnt follow them consistently or unilaterally (e.g., The New York Times). Musk does what Musk wants. But that doesnt mean users, including subscription companies, are beholden to him or to Twitter. We are in control of our brands, our brand messaging and strategies, and how we want to market them and engage with our audiences. Stay informed and be prepared for anything.

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Social media and digital marketing specialist presentation April 18 – Payson Roundup

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IrelandUruguay, Eastern Republic ofUzbekistanVanuatuVenezuela, Bolivarian Republic ofViet Nam, Socialist Republic ofWallis and Futuna IslandsWestern SaharaYemenZambia, Republic ofZimbabwe

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Social media and digital marketing specialist presentation April 18 - Payson Roundup

Colorado Rapids announce additions and promotions to business staff – Colorado Rapids

Commerce City, Colo. The Colorado Rapids announced today several updates to the clubs business staff. Alex McGeorge has been named Vice President of Media as part of various promotions, while the club has also significantly expanded its front office.

Apples Season Pass platform provides the club with an incredible opportunity for our work to reach new fans and help foster a deeper connection with current supporters, said Wayne Brant, Colorado Rapids Chief Business Officer. Weve built a talented group of content creators, producers and on-air personalities under Alexs guidance that can deliver top-quality storytelling and coverage for our channels whether viewers are new to the sport or have been with us since day one.

Now in his ninth season with the Rapids and 14th working in MLS, McGeorge has led the clubs digital and video staff since 2017. During his time at the club, the Rapids have won an MLS Executive Award for Best Digital Content Experience in 2016 and a 2020 regional Emmy for the season-long documentary Tim Howard: Just the Beginning. As part of his new role, McGeorge will now oversee the clubs broadcast department in addition to its digital content and strategy.

In addition to McGeorges new role, the club has also promoted Caitlin Kinser to Senior Director of Community Impact & Events, Jordan Rothrock to Senior Director of Brand & Creative and Taylor Milner to Senior Manager of Match Presentation. The Rapids have also added Manuel del Valle as Director of Broadcast & Content Operations and Katie Brown as Marketing Director.

In Kinsers new role,she will oversee match presentation and club events in addition to her continued work managing the Rapids efforts in the community, including player appearances, clinics and donations. During her eight seasons serving the clubs community relations director, Kinser has facilitated kit-based partnerships with Colorado Fourteeners Initiative and Mental Health Colorado, as well as launching one of the only Power Soccer teams in MLS. She helped launch the clubs annual gala, A Burgundy Affair, and oversees the Rapids Unified Team in partnership with Special Olympics Colorado.

Rothrock joined the Rapids six seasons ago and has been integral in developing the Rapids brand and visual identity, including campaigns and kit designs like the clubs 2023 New Day Kit in coordination with local artist Pat Milbery. He has been instrumental in developing integrated campaigns for the season, playoffs and major club moments, such as its annual season kickoff party, theme nights and A Burgundy Affair. In his expanded role, Rothrock will continue to oversee the clubs creative services output while ensuring its brand and segment strategies, along with brand voice, are clearly manifested across its creative development.

Del Valle joins the club from Inter Miami CF where he served in a similar role as Director of Broadcast. In his role with the Rapids, del Valle will manage operations and content with the clubs primary broadcast partners, Apple and Altitude Radio. He holds over 10 years of experience in broadcast and video production, having previously worked with Concacaf, HBS and ESPN.

Brownbrings nine years of marketing experience to her role, most recently in a similar position with the reigning Stanley Cup champions, the Colorado Avalanche. This is her second stint with the Rapids after previously serving as Marketing Coordinator for the club from 2016-2018. In her new role, Brown will oversee all of the Rapids' marketing and promotional efforts.

Milner joined the club in 2018 and has played an integral role in directing the Rapids matchday presentation and experience, as well as helping coordinate key club events, such as A Burgundy Affair and Rapids Unified Team events.

In addition to del Valle and Brown, the Rapids also added nine new roles to their business staff this season: Miles Clayborne as Broadcast Manager, Taylor Gregorio as Managing Editor of Digital & Social Media, Alex Winter as Marketing Manager, Sarah Sinnott as Rapids 2 Marketing & Events Manager, Daylon Schiffel as Brand & Promotions Video Producer, Sellers McDaniel as Events Presentation Coordinator, Saw Moo as a Digital Graphic Designer, Tien Le as Communications Coordinator and Amanda Gerlach as a Video Producer for Rapids 2 and the Rapids Academy.

During the offseason, the Rapids also promoted Nicole Tygesen to Social Media Manager, promoted Jared Berenstein to Partnership Marketing Account Manager, promoted Lucca Akiau to Partnership Marketing Activation Coordinator and shifted the role of Mike Revollo to Club Video Reporter & Producer.

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Colorado Rapids announce additions and promotions to business staff - Colorado Rapids

The fate of Black Twitter remains unclear after Elon Musk’s platform … – Digiday

Six months after Elon Musk bought Twitter, the social media platform has seen tremendous changes, from overhauling the apps content policies to reinstating banned and problematic accounts.

And as the platform changes, and users potentially view it differently, it remains to be seen what will become of Black Twitter, an online place where predominantly Black and brown voices draw attention to issues that concern historically marginalized communities and to share communal experiences.

From the agencies that Ive worked with, both multicultural and total market, Black Twitter was always seen as that barometer of what is happening in culture, said Denitria N. Lewis, group director of social marketing and strategy at Dentsu Creative. What marketers lose from that is access to real and authentic exploration of community and culture.

Black Twitter has become the blueprint for multicultural marketing and advertising.

Denise Branch, an independent anti-racism educator and DEI consultant

For marketers and advertisers, Black Twitter is a cultural marketing powerhouse, producing viral phrases like Bye, Felicia, hot girl summer, on fleek, and even turning the Popeyes chicken sandwich into a viral sensation. Historical moments, too, have come from the platform, like #BlackLivesMatter, #SayHerName and #OscarsSoWhite. And often, it has been a go-to tool for advertisers to understand whats cool to boost brand awareness and participate in cultural moments.

It has had poignant moments in history, too.

At the height of the Black Lives Matter movement and George Floyd murder protests when many were ordered to stay at home, it continued to be a place of conversation and community. At the time, tweets regarding the movement took off with more than 390 million tweets. At one point, there were more than 200 tweets per second about it. In response, Twitter launched a multi-city out-of-home campaign to support those voices as well as guidance as to how marketers and advertisers could listen and learn from Black voices on the platform.

Black Twitter has become the blueprint for multicultural marketing and advertising, said Denise Branch, an independent anti-racism educator and DEI consultant. Agencies lacking Black marketing and advertising professionalshave for so long taken credit for Black twitter without crediting Black twitter.

And, sometimes, marketers realized that too late. Some of their strategies landed as co-opting, coming off as tone-deaf and lacking understanding of Black culture, executives said.

Case in point: Back in 2017, beauty brands Sephora and Taste Beauty released a lip gloss called Bye Felicia. The product sparked some backlash on Twitter as users questioned the relationship between a beauty product and Bye, Felicia, a phrase that stems from the movie Friday where main character Ice Cube dismisses a woman named Felicia after she asked to borrow a car and a marijuana cigarette.(When asked, a representative for Sephora said the product and brand are not sold at Sephora US.)

But now marketers question what the fate of the captured non-white audience on Twitter will look like as changes to Twitter and Musks own Twitter tirades have left both advertisers and users especially users of color feeling uneasy.

[Marginalized voices on Twitter have] been ruthlessly de-prioritized and deprioritized in a way that feels malicious, a former Twitter employee, speaking on the condition of anonymity, told Digiday. I hope that we can learn from the lesson of what we lost.

Even civil rights leaders, from organizations like Media Matters, Free Press, Accountable Tech and Color of Change, called on advertisers last fall to stop spending on the platform in response to increased hate and offensive speech and other changes since Musks takeover, per reports. (By December, ad spend fell on Twitter by over 70%, per Reuters Musk blamed activist group pressure on advertisers.)

Should Black Twitter and other marginalized communities fly the coop, marketers and advertisers may lose the real-time, finger on the pulse, social listening capabilities that provided fodder for campaigns and brand slogans.

Because of this alienation and deprioritization, Black Twitter doesnt have the star power or virality that it once did. And Twitter is slowly losing its grip as the go-to platform to reach multicultural audiences, three agency execs told Digiday.

Multicultural communities have long since been a line item in marketing strategies as advertisers work to reach those communities. It makes sense as Black buying power in the U.S. is estimated to grow to $1.98 trillion by 2025, according to Nielsen. On social media, Black people aged 18-34 are 2.3 times as likely to use social media to talk about brands, per Nielsen.

Black Twitter was bigging up [or praising and recommending] brands before was a thing, before even brands were paying attention, if you will, so it was booming, said Janis Middleton, executive director of inclusion strategy, who also leads agency cultural efforts at 22squared and Trade School ad agency. Twitter acted as the catalyst that also bled into other ways that we were handling our multicultural marketing, knowing that inclusive language is a thing.

Before Musks tenure started, the so-called bird app was poised to officially launch a new creator program, Voices X, which connects diverse and influential voices on Twitter, like those of Black Twitter, with paid opportunities to collaborate and co-create with brands.

The program was under the purview of God-is Rivera, then Twitters global director of culture and community, who told Digiday at the time that she saw her role as building trust with historically marginalized groups that utilize Twitter.

Rivera is now at Disney, per her LinkedIn. Others execs who who were brought onto the team have also seemingly left, including Olubunkola Bukky Ojeifo, whose LinkedIn states her tenure ended in January, and Ariel Adkins, now managing director for Art for Change.

Its unknown if there were certain business goals tied to the program. And since Musk took Twitter private, exact Twitter financials are no longer available. Its also unclear if the team under Rievera has been completely dismantled.

In response to Digidays request for comment, Twitter sent a poop emoji in response.

After Musks takeover, which has been associated with an uptick in hate speech, several high-profile Black Twitter users announced they were leaving the platform, including screenwriter, producer, and showrunner Shonda Rhimes, R&B star Toni Braxton and Whoopi Goldberg.

Earlier this month, Musk was supposed to strip legacy verified accounts of their blue checkmark badges, further pushing Twitter Blue subscriptions. Many balked at the idea of paying $8 to keep their verified checkmarks, including athlete superstar LeBron James, and rapper turned actor Ice-T.

Weve seen this shift to TikTok, weve seen a shift to Instagram. Now, thats where the multicultural marketing trends are going to be found, Middleton said. [Twitter has] kind of fallen off a few plans, like media and social plans. (Find out where Twitters ad dollars are going here.)

TikTok has become social medias golden child, going from an experimental channel to a must have media buy for marketing strategies, creating virality for brands in a way that once was similar to Twitter. However, the platform has not been without its own diversity struggles. Post 2020 and the murder of George Floyd, society reckoned with social justice and platforms rolled out Black creators programs a step forward, but not enough as far as Black creatives were concerned.

The biggest example was seen with the Renegade, a viral dance created by a then 14-year-old Black girl named Jalaiah Harmon in Atlanta, whose credit was delayed as brands and white creators co-opted it.

Thats not to say that Black Twitter has seen its final days (even if some hosted a digital homegoing celebration for the social media platform). The opportunity to tap into culture is still there. For example, in February, Beyonc announced her Renaissance World Tour 2023, sending Twitter, and thus, Black Twitter, into a frenzy. Ally Financial took part in that cultural moment after a user tweeted about saving up for tickets via the financial institution.

But Twitters product changes, increased hate speech and reinstated banned accounts may make those cultural moments harder to come by if users continue to leave the app, pushing them and advertisers to alternatives like TikTok, agency executives said.

There are still opportunities for folks to utilize these other digital platforms to help capture moments, capture trends, said Laura Mignott, global chief experiential officer at VMLY&R Commerce. Thats where the opportunity for evolution and different voices are really going to be impactful going forward.

Still, to the former Twitter employee, the deprioritization of marginalized voices on Twitter speaks to a greater industry trend, in which dedication to diversity, equity and inclusion has stalled, replaced by flash in the pan creator programs and partnerships, they said.

I want people to think about what the next era of this could look like. Im holding myself accountable to that as well, they said. The commitment should still be there.

Julian Cannon contributed reporting.

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