Podcasts about innovation marketing

In this episode of The Cultural Capacity Podcast (Featured Voices) , Kara Gonzalez-Howard tells the story of how she chose nursing for her career path (and after nearly 2 decades, why she called it quits!). She discusses the significance her spiritual journey has played since childhood in making major shifts in her life and her joyful acceptance of the “reconstruction” phase of her life's work. Kara served in healthcare as a bedside registered nurse and nursing professional development educator for close to 2 decades. During her nursing career, she gained additional certification in critical incident stress debriefing strategy, trauma-informed care, and suicide prevention. She was actively involved in holistic and best-practice nursing initiatives as a bedside nurse and strives to bring similar strategies and education in partnership with her clients. Balance, energy, and wellbeing have been a top priority in her own practice as well as her mentorship and coaching practice within her current role as VP of Innovation & Marketing at Educator Aide (a consulting firm focusing on cultural change management for K-12 schools, non-profit & corporate agencies). Using her expertise gained within the rigorous healthcare industry, Kara partners with 1:1 clients in other sectors who are in need of an outside perspective when it comes to balancing between career, self-care, and family. Kara's coaching services are for professionals seeking to enhance balance, wellness, and long term cultivation and growth of personal and career goals. She volunteers on the board for the mental health services nonprofit, the Northeastern Center, and is an appointed school board member for a K12 school district in the Midwest. Enjoy some sketch comedy by Kara & Justine: https://www.youtube.com/@UCbV5rQY_VuqFqyLC5IY9txQ Find Kara on Instagram: https://www.instagram.com/glamgourmethome --- Send in a voice message: https://podcasters.spotify.com/pod/show/educatoraide/message Support this podcast: https://podcasters.spotify.com/pod/show/educatoraide/support

In der aktuellen Folge des DRÄXLMAIER Mitarbeitenden-Podcasts sprechen wir mit Joana Stöckl, Employee Eventmanagement, und Thomas Wallner, Head of Product, Event & Innovation Marketing.

In this episode, Robin and Stacy chat about innovative and effective marketing and branding strategies. About Robyn Eagles Robyn is the principal strategist of GTMSC, a go-to-market strategy and communications firm specializing in helping businesses grow through strategic consulting and communications. With 24 years of marketing expertise, Robyn has led Innovation Marketing at Acura and Communications and PR at Honda and Kelly Blue Block, Head of Communications and Marketing at Skyrsye, and lived agency life at Fleishman–Hillard managing various entertainment and technology accounts including Seagate, Mitsubishi, and Sony Entertainment. --- Send in a voice message: https://podcasters.spotify.com/pod/show/hollywood-branded/message Support this podcast: https://podcasters.spotify.com/pod/show/hollywood-branded/support

Learn how to make money from your ideas. Free Resources to help you sell your ideas: https://inventright.com/free-inventor... Do you need help? https://inventright.com/services/ Stephen Key's books: https://www.amazon.com/stores/Stephen... Read our articles for Forbes, Inc., and Entrepreneur: https://www.forbes.com/sites/stephenkey/ https://www.inc.com/author/stephen-key https://www.entrepreneur.com/author/s... Connect with us on LinkedIn: https://www.linkedin.com/in/stephenmkey/ https://www.linkedin.com/in/invent/ Facebook: https://www.facebook.com/inventrightllc Visit inventRight.com. Call: +1 (650) 793-1477 Hi, this is Stephen Key and Andrew Krauss. We are here to help you make money from your ideas. We started our company inventRight over two decades ago to teach people how to license (aka rent) their ideas to companies in exchange for royalties. This process is called “product licensing.” On our channel, we show you exactly how you to take an idea and license it to companies in exchange for passive income. Today, you do not have to start a business to make money from an idea. With product licensing, you don't have to write a business plan, raise money, manufacture, market, sell, or distribute any longer. Visit our website inventRight.com for more information. If you have a product idea and need some help, please contact us at: Phone: +1 (650) 793-1477 Toll Free: +1 (800) 701-7993 Email: support@inventright.com Email us: stephen@inventright.com andrew@inventright.com Learn how to start a business, how to become an entrepreneur, how to protect intellectual property, how to patent an invention, how to stop people from stealing your ideas, how to prototype an idea, how to contact companies looking for ideas, how to design a product, how to make a sell sheet, how to make a promo video, how to negotiate a licensing agreement, how to get a higher royalty rate, how to do market research, and how to work with inventRight. Stephen Key and Andrew Krauss are the cofounders of inventRight, a coaching program for entrepreneurs that has helped people from more than 65 countries license their ideas for new products. They are also the cofounders of Inventors Groups of America, an organization that hosts a free, popular monthly educational meeting for inventors online. They have more than 20 years of experience guiding people to become successful entrepreneurs. New videos every week, including interviews with successful entrepreneurs. Learn from the best! Pitch us your story to be featured on inventRightTV: youtube@inventright.com. Get your own inventing coach by contacting inventRight at #1-800-701-7993 or by visiting https://www.inventright.com/contact. inventRight, LLC. is not a law firm and does not provide legal, patent, trademark, or copyright advice. Please exercise caution when evaluating any information, including but not limited to business opportunities; links to news stories; links to services, products, or other websites. No endorsements are issued by inventRight, LLC., expressed or implied. Depiction of any trademarks/logos does not represent endorsement of inventRight, LLC, its services, or products by the trademark owner. All trademarks are registered trademarks of their respective companies. Reference on this video to any specific commercial products, process, service, manufacturer, company, or trademark does not constitute its endorsement or recommendation by inventRight, LLC or its hosts. This video may contain links to external websites that are not provided or maintained by or in any way affiliated with inventRight, LLC. Please note that the inventRight LLC. does not guarantee the accuracy, relevance, timeliness, or completeness of any information on these external websites. The inclusion of any links does not necessarily imply a recommendation or endorse the views expressed within them.

In this enlightening episode, Chris welcomes Christian Lazopoulos, a veteran in the realms of marketing and innovation. Together, they delve into Christian's rich experiences with startups in the FinTech and ESG sectors, highlighting the unique strategies employed and lessons learned. Christian shares the value of targeting problematic public sector elements and underscores the power of starting small to build success. The conversation also navigates the intricate ties between technology, society, and the environment, touching upon the need for more responsible business practices and the potential pitfalls of addictive technology. Engaging in a spirited discourse on the role of science fiction in inspiring innovation, they explore its application to marketing and the challenges therein. This leads them to ponder over the potential for innovation within traditional banking institutions and the obstacles that stand in their path. The episode concludes with a thoughtful reflection on the culture of innovation, the necessity for acknowledging it to drive change and sustain our species. A profound discussion on the world's imbalances and the pressing need for work-life readjustment wraps up the conversation. Join in for an eye-opening exploration of where technology and responsibility intersect. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thinkfuture/message Support this podcast: https://podcasters.spotify.com/pod/show/thinkfuture/support

Powered by TEMPO OMDProduced & Hosted by: TEDxAthensTrack Title: Time AgainArtist Name: Aaron SprinkleSound Editing & Mixing: Matrix Recording Studio  

Erwin Legrand  est Directeur Marketing, Digital & Innovations au sein du  groupe familial Legrand, spécialisé dans la distribution automobile depuis plus de 40 ans

For those of you who've ever been curious enough to question why one would ever have to wait two weeks to receive money they've already earned, this podcast is for you. DailyPay Chief Innovative Marketing Officer Jeanniey Walden talks with us this week about financial inclusion, breaking the invisible barriers around our financial system and what it looks like to have immediate access to your earned wages.DailyPay is a company focused on changing pay for good. Their objective is to look at ways they can create new solutions that have a positive impact on the entire financial system. Jeanniey talks a lot in this episode about the invisible rules created around money that have been alive in our ecosystem for centuries and have ultimately become barriers that result in subsets of our communities such as the unbanked and underserved.Their target audience is the employer, the employee and everyone in between, and their mission is to bring more transparency to the employee around the money they make, when they make it, and do it in a timely enough manner that they have the opportunity to generate more financial confidence as a result of it. So, we're basically talking about real-time access and on-demand pay. Not to mention, DailyPay has enabled hourly workers to see their earned wages in real time for the first time – ever.Tune in this week to hear Jeanniey talk about the invisible barriers preventing us from financial inclusion, what the average household looks like in the post-Covid, high inflation economy and what more our global financial system could commit to in an effort to strengthen financial inclusion.

Dr. Adam Acar is a native of Turkey who moved to Japan from the United States 15 years ago. He has since worked as a professor and in the education, innovation, and marketing sphere. Topics covered in this episode include: -why Japanese women rank among the lowest worldwide in self-esteem, and what it means -why konbin are so innovative, where there's room for change, and why trust is such a valuable force in Japan -why sales tactics and incentives successful in other countries may not be effective in Japan -how SNS and SEO functions differently in the Japanese market -the drain of zombie companies on the Japanese economy Adam Acar's Links: LinkedIn: https://www.linkedin.com/in/adam-acar-phd-9b8b871b/ Youtube Channel on Innovation and Digital Marketing: https://www.youtube.com/channel/UChQ7Gx5T-MADuIDO3mAEwXQ/videos Youtube Channel on Samurai and Zen Culture: https://www.youtube.com/channel/UC30GfLisrnQHeogVmdgcVTw/videos Want to support the podcast? Check the podcast's ko-fi page to help keep me well-caffeinated: https://ko-fi.com/businesssuccessjapan Be sure to follow or subscribe for more Japanese language and cultural insights. And if you enjoy the podcast, please leave a review so that other people can find it as well. And of course, if you have any questions, comments, or suggestions for future episodes, please email me at businesssuccessjapan@gmail.com. I'd love to hear from you! Leave me a voice message here: https://anchor.fm/businesssuccessjapan/message --- Send in a voice message: https://anchor.fm/businesssuccessjapan/message

Creating organic content where your buyers hang out is one of the best ways you can collect customer insights. It's your goal as the marketer to learn everything there is to know about the platform and how your customers use it, then optimize your content strategy to be as effective as possible. But how do you measure effectiveness? One of those measurements are your learnings. The comments, DMs, and conversations that are created by putting your point of view out in public can lead to huge insights that can change the way you do business. In this episode, Chris shares his playbook on how to get started creating organic content and then using micro-innovations to maximize insights. Join us every Tuesday at 5 PM ET to ask your question on TikTok by following @chriswalker171 Thanks to our friends at Hatch for producing this episode. Get unlimited podcast editing at usehatch.fm.

Daniel Sieberg Co-Founder, Chief Content Officer: GoodTrust Director, Innovation Marketing, Moody's Author: The Digital Diet (2011); Digital Legacy (2020, w/ Rikard Steiber) https://www.linkedin.com/in/danielsieberg/ ------------------     Katty Welcome to the artisan podcast as we welcome Daniel Seiberg as our next guest. Daniel is the Co-founder and Chief Content Officer of Good Trust and the Director of Innovation Marketing at Moody's. But above all, Daniel is a storyteller. Throughout his career he has told stories of brands and stories of people as a journalist, as an author, as an entrepreneur. He has traveled to over 70 countries and has worked in marketing, communications, product, and partnerships at many well known companies including Google as well as many news outlets. I'm so excited to have Daniel here so that we can talk about storytelling and how that impacts interviewing and how we can show up as our authentic selves, not only to an interview but any role that we start. So, with that, let's welcome Daniel.   Daniel Hi, Katty. It's wonderful to be with you and dwell in possibilities as the sign over your shoulder reads and talk about storytelling. Probably one of my favorite subjects.   Katty Yeah, thank you. I was fascinated when we had met a few weeks ago just to talk about the concept of storytelling and wanted to bring that to the audience here. Obviously, the audience who listens here are all storytellers… whether they're visual storytellers, or writers, or marketers. But this concept of storytelling is so important, and as we are recording this, the gardeners have come. So for the audience, just giving you a little warning if you're hearing noise, it's out of my control.   Daniel This is all part of our story right now.    Katty This is the story of working from home.    Daniel Yes, exactly.   Katty It is what it is.    Daniel Yep, life in 2022.    Katty Yep, we will speak loudly to overcome that. So, Daniel, how did you get started on this path? Let's go there first.   Daniel Yeah, absolutely and I will keep my origin story relatively tight. I would just say that my father spent his career as an engineering electronics technician working with oceanographers who went to the North Pole to study climate change. So I was exposed to the “how does anything work” kinds of questions from an early age. My family believes in service and my sister is a nurse practitioner. So that's a little bit of my orientation in the world.    And then coupled with that, my maternal grandmother died of complications from Alzheimer's and I can distinctly remember what it was like to see her at her 75th birthday party, and as an awkward 14-year-old walk up to her with a present and for her to say, “Oh, this is lovely, dear, thank you, and who are you?” And for the two of us to sort of die in front of each other in that moment. So what struck me is the value of our stories and how we pass them on. How we convey them. They're sort of the storytelling or how we do that. There's the tools that we use to tell those stories, there's the subject matter, that people, and everything wrapped up in what it means to tell a story and of course to listen,  to receive,  or to watch. So that, I think, is what ultimately pushed me into a career of being a journalist. In my case, it was science and technology. I did a master's degree in journalism with a focus of technology at The University of British Columbia…. a long time ago.    The arc of my career went through working at CNN, covering those subjects including space and environment, and on to CBS News, and ABC and then I pivoted away from being a practicing journalist, if you will, to focusing on technology and I would say helping others use technology to tell stories. So I spent several years at Google and helped to create a couple of teams in service of empowering newsrooms to use technology to tell stories in new ways with data through different tools, training journalists, helping to identify new markets and thinking about success metrics and a lot of stuff that newsrooms are thinking about back then integrating that into their workflow.    And then left all of that about four and a half years ago and went into entrepreneurship. I continued to stay close to the idea of storytelling and I co-founded a blockchain startup at one point. I've been an advisor to many startups, started my own company that was about an immersive kind of AR augmented reality, virtual reality kind of an experience to communicate with people and hear stories of the past. A couple of years ago, I connected with a former fellow Googler who I didn't know and we embarked on this journey of co-writing a book together. And in parallel, building a company called Good Trust, which is all about this idea of digital legacy. So now that we have the first book I wrote was called Digital Diet, which was all about living with technology. And now here we are ten years later, and we're all sort of dying with it in sort of a morbid way. But this is the way that we've evolved through technology and how it captures our stories. And so, this is where I find myself, somewhere at that intersection of technology, storytelling, and all of us mere humans.   Katty It speaks to me and it resonates with me, because I wrote a book about grief and that whole journey through loss and certainly, memories and stories of our loved ones are particularly near and dear to my heart. And making sure that we're preserving them and being able to share that legacy. But you bring up a digital legacy, and that's pretty interesting. And I think what I gathered from what I learned from that you had shared with me about your book, and correct me if I'm wrong, it's really kind of just being mindful and being aware of the digital legacy and the footprint that we're leaving behind. Right?   Daniel Exactly, and I mean, to the degree to which if we look back or up into our family tree, if you will, and the creative output that became the sum total of someone's identity. So for example, we hope, maybe we're not all of us, many of us have an Ancestry or My Heritage profile, right? Particularly as we age, we start to think about how to capture all of that with just one or two generations earlier.    Maybe the artifacts that we have with those people are a postcard or to a letter, a handful of photos. You know, if the person lives into the 60s and 70s, maybe there's some video,  but it's in a format is hard to share and hard to preserve. But now as we get into the 2000s, 2010s, 2020s, the output of each of us has grown exponentially that reflection of who we are. We create 10x of what we have on somebody's ancestry profile every day in our email, the photos that are found and you know, the accounts we have and social media posts and on and on. And if somebody had access to all of that, you know if I could see what my grandfather actually created or thought or did or said.    I would personally be fascinated by it. Now for somebody else to come across that maybe that starts to feel a little creepy, or there are privacy issues and ethics and all the rest of it. But I do think that awareness, part of it that you referenced, is something that we've thought a lot about with Good Trust, because if somebody passes away whether you're in your immediate family, or even a friend and you don't know that they have, you know, a Facebook, a LinkedIn, still have a MySpace, like all these places where they've got all this stuff, that's sort of an early challenge. And then on another level, is there some crypto somewhere that you don't know about? Is there a retirement account that somebody forgot to tell you about its password? And all of a sudden there were these pragmatic reasons to be aware of all of this too. So there's like the emotional and the pragmatic side to know all this.   Katty And for sure, and I imagine now with creatives, and NFTs, that's a whole nother piece to keep track of.   Daniel Exactly. You know, we've tried to create ways for people to do that through something we've called a digital vault, with kind of this notion that you can assign a trusted contact to help you to do this on your behalf after you pass away or to help somebody who is already a family of somebody who's already passed away to take care of all of this, because the reality is that the average person spends about, the exact number is, six hours and fifty-two minutes a day online. I think through the pandemic, that's probably gone up. Let's just say, most of your waking hours during the day are spent somehow connected to the internet.    How much of that time you actually are creating something you want to save and remember and pass on to people? Maybe it's like 10 to 20%, but still on a daily basis, that's a lot. I mean, just today, you know, if I go back to get those notifications of a memory and remember back on this day, right? And those are photos and like I do not want those photos to get lost. These are photos and it doesn't even have to be some huge occasion when anniversary or birthday. Sometimes it's those every day, I'm using air quotes for people who can't see us because “every day” moments where you know, your kids do something and you want to remember.  When you were building a tree fort, and you know, those are the kinds of photos you want to pass on to people. So how to identify those, how do you pass them on in a way that feels tangible to someone else to do something on your behalf? This is really what we're talking about with digital legacy. It's the story of you, just in a digital capacity.   Daniel And who gets to see it and who gets to access it. And these days, we have some AI ways to think about this. For example, you can animate a photo through our site where you can sort of bring it to life, if you will. So if you have a picture for let's say, you know, from 60 or 70 years ago, you can animate it in a way that the person now has some expressions and nice to feel like so you can kind of capture their essence a little bit more and share all of that.    There are other companies, there's one called HereAfter that allows you to have a conversation with somebody who has passed away. If you ask them some questions, so for example, if I asked you a series of 100 questions about your life, what Hereafter will do is take that data or you can do it on your own behalf and create a conversational AI experience so that you could learn about your history and you know, even after the person passed away, you have these memories and you can use your smartphone device. You know, be with the family and ask them questions. There's a video one called StoryFile, which you can do with video you can do as an app on your phone and it's now sort of talking to you, you know. And it could be somebody who's already passed away. They did this at the Illinois Holocaust Museum and at a certain point with Holocaust survivors, you could ask them questions. So this is the direction that we're going with the stories. They are being created in a digital way, preserved in a digital way, and now sort of passed on in this digital way.   Katty Yeah, I was talking to someone yesterday actually on another podcast about augmented reality, And how cool would it be if we could create something where a hologram of a person passed could be a conversation that we're having.   Daniel Absolutely. And, you know, today it's possible in a limited way for people who either have the money or the means to do that. So for example, Kanye West gave his wife at the time Kim Kardashian, a hologram of her deceased father, Robert Kardashian for her birthday and she could actually see it and interact with it and he was sort of speaking to her you know, if you will from the afterlife. There's an example of a mother in Korea, who her daughter had died at a young age seven or eight, horribly tragic event as tragic as anybody could imagine. And what this company offered her was a virtual reality experience to interact with her daughter. They created kind of a digital version of her daughter, and then the mom got to sort of say hi, and kind of, you know, bring her back to life if you will. The mom was so emotional and watching it is difficult, and there's some part of you that, or at least for me, that's conflicted, or you think, is this what she should be doing to deal with her grief or not. On the other hand, this is how she feels she wanted to do it. And maybe it's cathartic in some ways for her to experience all of this in that way. So,fascinating discussions about all that.   Katty Yeah, for sure. I could talk to you about this for a long time, but for this podcast lets bring it back to creatives. And actually I think mostly sharing just in terms of the story we're telling about ourselves online. That's an important piece and we always on the recruitment side of our business, we're always talking to candidates about, what does your online presence depict? Is there a through line between what you say you want to do and how you've created your LinkedIn profile, for example. And then you have all these other assets that you're creating. So what could you share with us in terms of our online story? When it comes to branding, our personal brand and how that represents online? Is there something that we can tie that back into what is my story as a candidate, what's my story as a job seeker?   Daniel Here's what I would say. First of all, for me personally, I'm going to call myself a digital immigrant insofar as you know, I didn't grow up with the Internet. And, you know, it became part of my life at a certain point. But for of course, a whole other generation that we're talking about, you know, millennials Gen Z, this is just what they know. And so their life is captured in this digital way from the beginning, if you will, right? Their parents are sharing photos of them and then they have a digital presence. So they have a digital self from day one to think about.    And I think what I wish I could tell my younger self was be authentic you in every case, whether it's something you're talking about in a broader public context, like social media, or something you're sharing a little more privately or whatever it is, just be the authentic you.  Kind of imagine that somebody could either look over your shoulder or look at your account or see what you were posting, just be the same person, accept who you are. I've gotten better at doing as I've aged, I wish I sort of figured all this out much younger,because I think what can happen is that social media of course triggers our ego, this sense of projecting, and, you know, I think pulls out a lot of our insecurities. We may not be that person in our entirety.    When I worked at Google, we used to say that social media was a reflection of of someone's ego and search was more of your id, what are you really thinking? Right? So if you could see what people search history is versus what they posted on Facebook could be quite different. Right? And I think that prospective employers can now start to sense that if not detected  you know, whether it's within your resume, does that line up with what you're saying you did or how you conduct yourself, all of those kinds of sensitivities to think about.    I think that the earlier on in your life that you can just be that one person no matter what the medium is. Just have that reflected out into the world. I just feel like the more confident you'll be, the more successful you'll be. But this is again, I wish I could tell my younger self all this in this sort of sense. It's easier to say than to do.   Katty Yeah. Why do you think storytelling is so important? Why stories?   Daniel You know, somebody told me once that there are six words that if you say that it's anybody, they will trigger a part of the brain and their words are, “let me tell you a story.” And there's something that's universal about stories and the way that it captures our attention, and our engagement and our curiosity. Some of the best sort of human traits are fired up when we know there's a story coming. What can we learn? What does this mean? What happened? Tell me more, right? And I think for anybody who has kids, when you stop reading this story, like halfway through they're like no, no, no, no…. you have to keep going. And it's kind of wonderful in a way to see that because but it does require, it asks of us to be this listener and somebody who is  paying attention, if you will. And I think that, to me, stories are the way that knowledge is passed on, yes, but perhaps more importantly, experience and wisdom.    For a time I had this idea of a product that was like a wisdom engine. These days, we think about the search for knowledge and understanding the facts and all of that, but what about all this tremendous wisdom that we all possess and how do we find that from other people? We can read about it and books and learn philosophy and all that. It used to be that we would sign up as human beings in a philosophy house that was what we sort of ascribed to a particular philosophy and that was our way of looking at the world, and we were a stoic and that's kind of what we thought and we talked about that and discussed it with people. These days of course, there's some of that with faith or with religion, but philosophically, I feel like stories contain so much of that philosophy and so much we can learn from them. And they manifest in different ways, movie, TV show, a commercial, an ad can be a little bit of a story, a website, an email.    I just think that they are universal and there's a finite number of universal truths that appear in an infinite number of stories. It's when people would say there are really only 16 original stories in the world and they're a million different ways to tell the same story throughout history, but I think it's one of the best ways for people to learn, and to capture something that feels fundamentally important as human beings.  We started by trying to tell people things through cave drawings…look, just pay attention to this thing. I don't know how to, speak your language or get you to listen to me, but I'm going to draw it here and just look at this thing, right?   And now people are scrolling through TikTok, and we start to lose people's attention spans. This is my great concern with stories. Is that they're going to be lost, because people can't pay attention for more than a few seconds. When I watch films now, I'm like, can we hold a shot for longer than two seconds before we have to go to the next thing and the next thing. Let's read the person's expression, let's sit for a second in this moment. I get that the world's moving at a faster pace, and I don't want to be the fuddy duddy who's like can we go back to fax machines and slow things down? I'm on the cutting edge, I like being out on the frontier,but there's something about a linear understanding of something that requires the story to capture people's attention and to learn. And if you weren't able to do that or don't have that opportunity, I feel like we're losing something as a species as a society. I'll get off my soapbox now.   Katty I agree because I think stories pull you in. As you said, “let me tell you a story”, and that naturally just makes people lean in and ask, ”what's coming next?”  Question for you, kind of going back to candidates and interviewing. How can one tell their story in a short way? Are there any tips in terms of how a candidate in an interview can just authentically show who they are whether it's through their resume or in the interview process that is concise? They can't start the interview with like, let me tell you a story. But you know, a traditional question is like, “tell me about yourself?” “How did you get started?” So are there any recommendations that you can leave our audience with in terms of how to be able to weave their story into the facts of what it is that they do?   Daniel I love when people can tell a story. I'm going to see if I can just wrap this in the right way but like, a humbly confident manner. So in other words, they're aware, they're self aware enough in their place in their own story, such that they can tell it in a sort of an articulate way. They can describe what they learned, maybe throughout their life and  in their career. But they're not saying it in a way that's sort of like well, “I've figured it all out and just like everybody out of my way, obviously you should hire me!”  It's more of a journey and kind of giving you a sense of how they got here. And I love being pulled into those stories and people talking about you know, I I went through this health scare, but I what I discovered about myself was this, and then I went on to create this thing, and I thought I had figured it all out but then this happened, and then I joined up with this person and we built this thing. I love hearing those stories.  I remember when I was in journalism, early journalism classes, I had a writing professor who said, anytime you write a biography about somebody, you've got to include a nose picker. Like a something about the person that isn't this lofty, they were this great, whatever, right? We all have our nose pickers about ourselves. Nobody's a perfect person.    I think when we go into an interview, the sense is to project, I'm perfect, not only am I perfect, but I'm perfect for the job, and clearly you should hire me and let's get to it. Sometimes I think younger people are unsure of where the balance is, they don't want to seem like they're not confident, on the other hand, if you're overconfident people tend to sort of lean back a little bit. They're like, alright, well, sorry the room isn't big enough for your ego. So I think there's some amount that needs to come into how you convey yourself and just admit that you have your own failings, right?  We all have our nose picker kind of things that we can highlight.   The classic kind of thing when people say “what's a negative attribute you would say about yourself?” The one that people have been told not to say it's like, I'm too much of a perfectionist. I just wanted to write “Oh, are you Oh, you're too much of a perfectionist?” Versus If someone were to ask me what is my nose picker? I would say I've done lots of different personality tests, so it's sort of a scary and exciting to kind of learn these things about yourself. But I feel like one of the things for me that can be a nose picker is that I consider myself a leader with passion, somebody who wants to move forward as solutions oriented. “Hey, everybody, like let's go this way. We'll figure it out. Like come on, like how can you do this? Great, awesome idea. Let's do it.” Right? And then the flip side of that, in terms of the optics of it is that it can be seen a little too intense. So people are like, Okay, well Daniel, slow down and let's pause for a minute and talk about all this and do more measures. So,  I can get caught up in my head overthinking that too. So I love when I can observe somebody else who's great at all of this, this kind of being humbly confident or whoever you sort of think about it, and observing them and saying like, I want to be like that. That's how I want to be getting out of my own way sometimes because I think also I can be able to be Canadian.I'm from Canada originally I feel like I'm an honorary New Yorker after 16 years, but I can be a little too Canadian and think, I need to defer to others or not be as you know, little forthright in what I think are my opinions.    And Canadian are terrible at apologizing all the time and wanting to be liked because we're just just like America's hat, up there and you know, “Gosh, darn it, I hope people will think we're all right in the world.” And, so rather than being this kind of like bold, American I know it's we can do this and, might so often they're in there like just wrestling way and I tried to smooth those waters to some degree and be a little more of like the calm like the duck, with the feet under the water paddling and I'm just the duck. I don't wanna say Swan, I don't quite put myself in that category.   Katty But they're paddling really, really fast!   Daniel  They are paddling really fast. There's definitely that side of me, beneath the surface. But I know people don't like to see that because it makes them anxious.   Katty Yeah, exactly. That's so funny. It brings it back to authenticity, right like if you're in that interview, and you can't show up as who you are then.   Daniel Yeah. And if for whatever reason, it doesn't work out and oh my gosh, we've all had those moments. Then you sort of say okay, just wasn't meant to be. And I think that this is something else I've needed to learn over the course of my career is that the more you can be your authentic self and live in the moment and whatever's going on and accept that you know, there will be an outcome from that.  It may not be exactly what you'd imagine. If it isn't, then okay, but maybe sort of no expectations, I think is another thing. I think we all sometimes put high expectations and put it on ourselves or in a situation where we want to stay and we push ourselves and that can come across too or it's like just wow, okay, whoa…iit goes back to the intensity. And so I think I've needed to regulate that and modulate that in some ways. And just, you know, a little bit the, you know, Fred Rogers, Mr. Rogers has asked children to, or ask parents to say to their children, I love you just the way you are.    And I think if you can do that with yourself in a little bit of a self affirming sort of way, which I know that this can all sound a little too out there for some people, but if you can have these kinds of conversations with yourself, and really like who you are, and when you go into a job interview, or to have a discussion with somebody, allow that authentic self to come out. Ideally, it connects with that person. And if it doesn't, then it wasn't meant to be and rather than sort of regretting it, or trying to force it, think okay, on to the next. See that there's always another adventure or opportunity out there.   Katty Yeah, good point. If we don't show up as our authentic self, and we put on airs during the interview, certainly, that's something that when we show up to the job, day after day, day after day, it has to be our authentic self.  There's no way that we would want to or even can hold up a pretense.  It's just not going to work. It's not going to be the right job.   Daniel Exactly, it's not and that's when you drift into, I don't know if people have read Catcher in the Rye recently but you start to become Holden Caufield and you just feel like a phony, and I have had jobs where I felt like phony, because I sort of got my way in the door, if you will and then by the end, then a month or two months later, you know, it started to feel awful. And then it just goes down. And it's really hard to recover from that. And so, rather than trying to come up with this fake story.    When I interviewed younger people now I would rather they told me that they don't have a ton of experience, but they really want to learn, or that they haven't done this thing yet, but they did this thing and here's what they discovered.   At Google, when we would hire people, and I was involved in a lot of different interviews and hiring people at Google. I think you could actually get a badge internally,  I think, mine got up to 75 or whatever it was six years. So anyway, enough people that I loved just that experience. And there were different quadrants to assess as people would come in: role related knowledge and, what was their experience and just all this stuff, and Googliness was one that people still probably have a hard time kind of figuring out.  The one that to me that was most important was categorized as GCA, so general cognitive ability.  The way that was expressed to me was not is the person smart or not, or what was the SAT… that doesn't matter.  It's could that person, if you brought them in under one particular job description, and let's say that product went away, for whatever reason, sunsetted, wasn't renewed or funded again..could that person be moved over to a completely different job, different team, different product and perform and excel in that environment, because they have that general cognitive ability to adapt to a whole different thing? If the answer is yes, that you think that that person scores high there, that to me was the  most valuable aspect of evaluating somebody. Because that's what we're all asked to do, is to adapt, be solutions oriented, have the growth mindset, all of these attributes we look for people. When I came across somebody who I felt possessed that, and there are people who I hired at Google who are still there, and I love seeing the arc of their career, and in my head, I'm like, I knew that they would be that person. I'm like, I told you, Google people, I don't work there anymore. You know what I mean, I'm in the background cheering them on, because I think this is exactly what companies need,are these people who can who have that neuroplasticity, and growth mindset and can adapt because companies change even big companies that think they're never going to change?   Katty Yeah, one of our core values at Artisan is agility of thought and action, because at least in the 27 years we've had Artisan our clients have changed drastically from exacto knives and paste up boards to where we are today. And they will probably continue changing and evolving like we were just talking about AR and VR and where the world is going. So, agility fits into GCA, general cognitive abilities. I'll ask you this as a final question, did you have a favorite interview question that you always asked? I always hear Google questions are pretty unique but what was your favorite question to ask?   Daniel I know some of the Google questions, I'm mean, there are even like sites dedicated to like trend questions. And for a long time they were like, the question is, like, why is a manhole cover round, you know just these kinds of random things, right. I don't know, because the equipment anyway, people would obsess over these things, right?    I gave a talk about this recently about failure, and what it means to fail and I always loved hearing people share their stories of failure. And to me, if people have that failure story, they know what that failure moment was and they can identify it and they can express it and talk about it in a way that you can see that they've clearly evolved through it and taken what they can from it.     I read recently about the concept of failure compost that even though you may have failed, the project, failed idea whatever it was, you can sort of take some of that and turn it into fertilizer for your next project.   Katty Yeah, like that.   Daniel I'm gonna give full credit to the Google X team. It was part of a moonshot email, but they were describing this whole concept of failure compost. I just think there's something wonderfully sort of like a virtuous cycle of, of life almost in a way because people can put so much of themselves into something that fails and if, if you can go through that and see how it refined you, and then come out the other side, and remember to not identify yourself as a failure, and to be able to say, Yes, I failed,but here's what I learned and I'm ready for the next thing.    I mean, you know, someone like Michael Jordan is famous for his success, of course. But one of his quotes that I think people love to follow up on is the number of times he missed shots, was was given the ball at the last second to win the game and missed and he says, you know, I failed over and over and over again, and that's why I succeeded. It's such a powerful way to think about success.    I mean, there's a tremendous book by Srikumar Rao, who is at Columbia Business School Professor has this whole framework around how to approach your life and business and really the book is called Are you ready to succeed? And to me the flip of that, of course, is in your head like, are you ready to fail? No, I don't want to fail. But so how do you kind of think about that and cope with it and, and ideally thrive out of those kinds of situations. So anyway, that was my favorite question,and I always loved hearing about it. There's never any judgment. I mean, it's not. So I just loved having those conversations with people.    Katty Well, it brings us back to being authentic. Right? You can not be authentic if you've never failed before, because we all have at some point, we've all fallen down and then gotten up, dusted ourselves off and said, Oh, right now what now? Where do I go?   Daniel I think it gets to a path of trust much faster. Especially in an interview or when you're meeting somebody for the first time, if you can acknowledge that place. Because you know that to me is what helps to build and broker trust is, and ideally when you get the job, and you go through that together, and you fail, you succeed, that brings people together. It's like connective tissue being in the trenches you're figuring it out together. But if you can kind of get that in the early moments with somebody and kind of understand it and be a bit vulnerable. I just think they're on a great path.   Katty Beautiful, beautiful words, and I think a great lesson, just the authenticity. I see it so much when we interview hundreds of candidates in a given time period and I cannot tell you how many people have told me, that when I've asked them so what happened at the previous job? Why did you leave? Like hardly anyone's ever says that I was fired. And then you do a reference check and it comes back but they were fired. We'll just say it just, just say and share why and not have these surprises in the little box that's going pop up like a little Jack in the Box.   So this goes back to what you were saying just being authentic. What's the lesson learned, what happened, what were the circumstances, what did you do, what did you not do, and what have you learned from that?   Daniel Exactly. Well, I think the gardeners must have stopped to listen in on our conversation or something.   Katty Yeah, it's nice and quite. They're done. They were buzzing away at the height of our conversation so I'll listen and see what they said but you know what.. we're being authentic here, so.    Daniel We persevered through it.   

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is  Kelly Molson, MD of Rubber Cheese.Download our free ebook The Ultimate Guide to Doubling Your Visitor NumbersIf you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this episode.Competition ends April 29th 2022. The winner will be contacted via Twitter. Show references:https://twitter.com/PeteAustin_https://www.iwm.org.uk/visits/iwm-london/new-galleries Yemen: Price of War - the 'unaffordable' vending machinehttps://www.iwm.org.uk/history/yemen-price-of-war Second World War and Holocaust Galleries - It Happened To People Like You On A Day Like TodayMetro: https://metro.co.uk/2021/10/18/haunting-picture-of-londoners-sheltering-during-the-blitz-is-recreated-15443152/ Pete Austin is Assistant Director for Marketing & Communications at Imperial War Museums (IWM). He is responsible for audience, marketing, brand, comms and PR strategy across all five branches of the museum; IWM London, IWM North, Churchill War Rooms, HMS Belfast and IWM Duxford. Before IWM, Pete worked in Higher Education; running External Relations for UAL (University of the Arts London) and Goldsmiths, University of London where he helped to launch the Goldsmiths Prize for literature. He trained as a news journalist and was a Deputy Editor of a regional newspaper before his move into comms and PR. Transcriptions: Kelly Molson: Welcome to Skip the Queue, a podcast for people working in or working with visitor attractions. I'm your host, Kelly Molson.In today's episode, I speak with Pete Austin, Assistant Director of Marketing and Communication at Imperial War Museums.We discuss the emotive marketing campaign developed for the opening of the new Second World War and Holocaust Galleries, the ‘innovation marketing' strategy IWM has adopted, and what innovation actually means. If you like what you hear, subscribe on all the user channels by searching Skip the Queue.Kelly Molson: Pete, it is a pleasure to have you on the podcast today. Thank you for joining me.Pete Austin: No worries. Happy to be here.Kelly Molson: Maybe you won't be after the icebreakers. Although I thought I have been quite kind. Right. I want to know, what was the last song that you played on your Spotify account or other music streaming account?Pete Austin: That would be a song by Tom Odell called Heal, which makes me sound quite indie alternative, but it's actually because I just finished watching Giri/Haji, I don't know if you pronounce it like that, but there was a show a couple of years ago, Japanese show in London and Tokyo, it's on the BBC, but there was this song that kept popping up in it, so I had to find out what it was, it was Tom Odell, Heal. So that's the last song I listened to.Kelly Molson: Is that not your normal kind of music taste then?Pete Austin: It's not far off. I quite like the indie music, but I also like a lot of different music. So it depends on your mood, and I know that's a bit of a cop out, but genuinely anything. You could have asked me a few days ago, it could have been Bon Jovi while I was cleaning the bathroom.Kelly Molson: Because that is what you listen to when you clean the bathroom.Pete Austin: Exactly. Yeah. So you asked me on a day where I could appear cool, although now I've undone all that by mentioning Bon Jovi and the bathroom.Kelly Molson: I think that's fine. I used to have a running playlist, back in the day when I used to run, that doesn't happen anymore. And I had Eye of the Tiger on there because it was my eight mile track and that was like I really need to get through this eight mile, I need some motivation. Maybe Bon Jovi would have done that for me as well.Pete Austin: Maybe. Depends on the song, depends on the song.Kelly Molson: All right. If you could have an extra hour of free time every single day, what would you use that free time for?Pete Austin: I'd like to say something like playing guitar or writing or doing something I feel like I should be doing, but probably would just end up just sitting and having a coffee. I love that time in the morning when you can just chill out and have a chat before the day starts. So I'd like a bit more of that time before I get into it probably. But yeah.Kelly Molson: Yeah. It's nice, isn't it? A coffee and a magazine, or a coffee and a book just an hour of complete indulgence in something that you don't have to be productive for, you just enjoy.Pete Austin: Yeah. 100%. And I think I'm one of those people quite hard on myself about how I use my time as well. So even that question kind of brings me out in kind of sweats as well. It's like what would I do with that time? How would I make sure it's as productive as possible.Kelly Molson: You don't always have to be hustling, Pete, every day.Pete Austin: I know. I know.Kelly Molson: All right, what is the worst advice you've ever been given?Pete Austin: The worst advice I've ever been given. I've been given probably some awful advice. I think a bit of a cop out but I kind of went through school and sit and didn't really have any advice on what to do next. I'm probably of an age when a kind of careers advisor was probably quite a new thing, and I definitely didn't have any of that. So I suppose it's not the worst advice, but I got a lot of people telling me don't worry about this, don't worry about that, don't worry about university, do worry about university, it was all very mixed. I know everyone kind of carves their own path, but when I look back now and especially with friends and children of friends, they're just kind of getting to that age, I'm like just help them through it, help them decide what they want to do. So it's not necessarily worst advice, but definitely kind of absence of advice-Kelly Molson: Yeah, absence of advice is probably worse than bad advice, right?Pete Austin: Yeah.Kelly Molson: Not having a clue what to do. Pete Austin: I've had some awful advice just generally in life about go to this pub, don't go to that pub. You go into that pub you're like why did I listen to this person? So it's often when you take that advice you realise through the lens of which it's given, so you're standing in the world's stodgiest pub going oh this is why that person told me to go here, because they would fit in here.Kelly Molson: We will put the name of this pub in the show notes after for everyone.Pete Austin: Probably not just one.Kelly Molson: All right, Pete, what is your unpopular opinion? What have you got lined up for us?Pete Austin: My unpopular opinion, it came to me quite quickly and then I thought I can't really say it. My unpopular opinion, and I'm not sure if I'm going to get disowned by the entire nation, but is that Sunday roasts are a bit of a scam.Kelly Molson: What on earth? Honestly, this is the second time this has happened.Pete Austin: Is it?Kelly Molson: I cannot believe this.Pete Austin: Well firstly I think, to defend my position, I am coming at it mainly from the point of view when you go through a pub and have a Sunday roast. So, especially in London where I live, it's nearly 18 quid for two slices of meat and some vegetables. So that's a joke in itself, although that could be extended to a lot of pub and restaurant food. I just don't understand it. Yeah, my wife she's Greek Australian, she came over from Australia, she's got Greek parents. She is baffled by the notion that the roast as a concept doesn't make any sense, and when you really start to think about some of the stuff we do as a country, you start to question it. So yeah, that's my unpopular opinion. I've even tried defiantly to ignore it, I've cooked roasts, I've made roasts, big beef joints, big lamb joints and stuff, but I don't understand it. It's a lot of effort and I'm not sure what you get out of it at the end of the day.Kelly Molson: Oh god. I'm not even going to try and start thinking about it because everyone's going to ruin it, it genuinely is one of my favourite things is to go for, I think it's because my partner is a wedding photographer, so he works a lot on Fridays and Saturdays and so sometimes we'll go out and do something and we love going to the pub, a few beers, and a Sunday roast.Pete Austin: The pub bit.Kelly Molson: Yeah. The pub bit is okay, but cut out the roast for you. I'm not going to think about this too deeply because it will ruin my favourite day of the week, Pete.Pete Austin: Okay. I'm sorry.Kelly Molson: You should speak to Neil Dolan from Madame Tussauds, because he had exactly the same unpopular opinion, and he'd rather have a pizza.Pete Austin: Yeah.Kelly Molson: So there's plenty weird out there, that's all I'm saying.Pete Austin: But just for the record and for clarity, one of my favourite things is a British pub. One of my favourite things is the pub. Everything about it. The older, the better. The cozier, the dingier, the better. So it's just the roast bit.Kelly Molson: Okay. So we can go for a beer.Pete Austin: Yeah. You can have your roast.Kelly Molson: We go for the roast, it's fine. We're all friends here, Pete. Okay. So we want to talk about marketing today and innovation in marketing.Pete Austin: Yeah.Kelly Molson: I want to set the scene about why we're talking today. So back in October 2021, to mark the 80th anniversary of the outbreak of the Second World War, Imperial War Museums opened new Second World War and Holocaust galleries. Now, the marketing campaign for this launch was incredibly emotive and I think it's fair to say that neither of us expected to be speaking about this topic whilst there is an unjust war raging in Ukraine. So it's very important and we acknowledge that. But last week I actually saw a connection share one of these images on LinkedIn, and it felt scarily relatable for what those people are actually going through right at this moment in time. Can you just kind of talk us through those images to set the scene of what we're talking about, Pete?Pete Austin: Yeah, of course. So for anyone who hasn't seen it, and we can obviously share it as well, but we kind of took the decision, as you say, we were opening the Second World War and Holocaust Galleries Imperial War Museum London, and massive investment, massive moment for the museum, and the idea was that we wanted to kind of break away from the traditional museum marketing, which as we all know is kind of spotlight object and put the poster up. It's challenging with our subject matter to do that anyway, because lots of our objects even themselves require so much context. So we're always in a bit of a tricky boat on that front anyway. But we also wanted to innovate and we'll come onto that in a minute I'm sure, but the images that we used to kind of juxtapose against each other was a 1941 image of Londoners sheltering in a tube station during the Blitz, and we recreated that photograph as closely as we possibly could and bring it up to date.Pete Austin: So for example, people were sat looking at their phones, had their laptop cases, sat there with puddies on, whatever they would have probably had to do if they had to go and shelter if there were an air raid siren. So we recreated that image, and we didn't recreate it with any kind of drama added, or any kind of artistic license, it was really just to try and bring up to date and make relevant what normal people went through during that time, and this idea of it happened to people like you on a day like today was the tag, and that's very much what we tried to do with the image. It was shot by an amazing conflict photographer called Hazel Thompson. So we actually even got that kind of level of authenticity about how it would have been approached, and it formed the hero image for the campaign.Pete Austin: We did some other assets as well, but that's the main image, and that was really what we were trying to do was try and put people into feeling how it would have felt then, and that's a really challenging thing to do with that subject, for obvious reasons.Kelly Molson: Yeah. I mean it's incredibly emotive, as I said, to look at this picture, because you can see yourself in it. You can see somebody that looks like you, you can see that they would have been on their way to work, or on their way home at that point in time. They've got the things that you would be carrying, they're wearing the clothes that you would be wearing, and it is quite frightening to be able to visualise yourself in that situation. Is that what you were trying to achieve with it? To kind of make people feel like this literally could happen to them like this?Pete Austin: Yeah. Well I think it's a hard one. With ours, we're never trying to make people feel how it feels to be in any situation across our entire remit, and our remit is First World War to contemporary conflict, right up to the present day, because one, that's impossible to do. And two, it would be incredibly distasteful to try and replicate that kind of stuff. So we've got a very fine line to tread editorially anyway. What we're always trying to do, however, is to make things relevant and create resonance with the audience that just makes them think about what it would have been like then, and the easiest way to do that is to try and put it into people's worlds.Pete Austin: So it is a very challenging, we went through an extensive editorial processes on this because there are some images that you simply couldn't recreate or bring up to date or put into the 21st century, put into 2022 or 2021 without it just being a leap too far. This idea of the mundane, the mundanity of war in a way, like how it effects your every day, we've all seen those striking images from the front line and they're incredibly harrowing, incredibly emotional, but what we're trying to do with this is try and say this effected everyone. It was a global war, it would have effected you, it would have effected you differently to someone in a different country or down the road even, but it would have effected you, and it's trying to get that relevance across because the Second World War is falling out of living memory now, the Holocaust and the Second World War, it's becoming the only way to tell those stories will soon be through museums and through kind of archives and through objects. So we just needed to make it resonate really.Kelly Molson: Which it certainly did. I mean the launch campaign was an incredible success in terms of the press coverage and obviously what it did for the launch of the galleries itself. Was this part of, and we touched on innovation earlier, was this the start of your kind of innovation marketing strategy? Because that's something that you've tried to do a lot more of in your organisation.Pete Austin: It wasn't actually the start. So the strategy was signed off in 2018, I think. The first major campaign we did which had innovation at the heart of the strategy, and by the way, innovation is quite literally written into the strategy, so that's a brilliant place to start and a great thing to have for that kind of endorsement and mandate. The first campaign we did was a campaign for an exhibition at IWM North, which is in Stretford, about Yemen. And that was a different one as well and it comes back to that idea of how we can really bring it into people's lives, how you can make it resonate, how you can talk in the language of people that are going to visit the exhibition. And for that we did a public marketing stunt where we put a vending machine in the middle of Manchester Piccadilly Station, and the vending machine had all of the objects you expect to find in a vending machine, but they were all priced at the kind of multiplication of the inflation of the price of food that was currently in supermarkets in Yemen.Pete Austin: So one of the big issues with the Yemen conflict, especially at that time, was that it was in economic famine. So there was food on the shelves, but no one could afford it. So we were trying to bring that idea to people who were just getting off of their train in the morning coming to Manchester, Piccadilly, rushing up to our vending machine trying to buy a bottle of water for like 15 pounds. And then talking to them and going, obviously there's an exhibition where you can find out lots more information about this, but not just that, this kind of public service remit explaining what was behind it.Pete Austin: So we did that, in fact our campaign for that, outdoor campaign, the assets and the creative was all around a kind of fake supermarket price reduction campaign. So we had a box of eggs that were reduced from 32 pounds to 28 pounds, or something like that, and people would look at it and go what the hell is that? So we started with that, and we've done a couple of others, but then yeah, it was a big move to go from a relatively small exhibition at IWM North to one of the opening of our new permanent galleries at IWM London, but we just believe in this approach and we've seen the results of this approach. So for the Second World War and Holocaust galleries, we were like, this was just over the first two weeks, we were like 19% up on what we were supposed to get. So we got out there and we got into people's psyches I think.Kelly Molson: Brilliant. So it had a really positive effect, you achieved the remit that you set for it.Pete Austin: Yeah.Kelly Molson: How do you, this is probably a massive question, but you don't wake up one morning and go right, we're going to be more innovative, and everyone's going to give us the budget to do this as well. How do you embed that culture of innovation into your strategies and into the marketing teams?Pete Austin: Yeah. It's a process for sure. I think the first thing to say is that when I joined IWM, IWM was doing brilliantly. This wasn't innovation through need of just changing everything or overhauling everything. I came in 2017, towards the end of the First World War centenary. Obviously massive program of activity. But one of the things and one of the main drivers for the innovation strategy is we have a really strong core audience, but we want to develop new audiences. And to develop new audiences, you have to look at how you're doing things and potentially do things slightly differently.Pete Austin: So the first step was taking on board that which kind of, I'm the senior [inaudible 00:16:24] kind of audience growth strategy, so having a look at those audiences in which we want to grow, who they are and how to reach them, because obviously innovation is great, but innovation isn't just about having loads of fun and trying things. You have to have a strategy behind it as well. So step one was really looking at that audience growth strategy and saying these are the audiences we want to reach and we've got to innovate. And it's interesting you mention budgets there because part of the innovation is really to try and do it within the existing budget, because actually the opposite of innovation would just be investment. Because we could just say look, I'm a marketeer. You want to reach these audiences? Give me a massive pile of cash and I'm sure I can reach them. But that wasn't an option, obviously. So it was a case of how we innovate within what we currently do, and that was a massive, massive driver.Pete Austin: So to use the Second World War and Holocaust Galleries example, we got double our spend almost by creating something that was a moment that also got media coverage, that also became something within itself that people were talking about. So there's the marketing spend, the marketing application, so the marketing mix, out of home, digital, plus the press we got. So it's really bringing that markings together. But step one was going to the exec board and to the trustees and saying I want to put innovation at the heart of our marketing strategy and here's why, evidence with data that says that innovating in these ways would be reaching new audiences, and that's definitely something that started to happen.Kelly Molson: Where did the data come from? Was that just researching the target audience that you were trying to get more of?Pete Austin: Yeah. We do a lot of data research, market based data. So we had our market based data. We had some existing segments. We had to rationalise them, we had to really examine whether they were the right ones we were going after. One of the jobs I did when I came in was to really look at how well we penetrated those segments because to be honest, some of them we were over investing in and getting under return. So it was really about rationalising those, and getting the organisation on board with them as well.Pete Austin: So part of the issue I had with the first round of the audience strategy was there was a lot of different audiences, and now we've got a core audience and it's across all five branches of the Imperial War Museums, and we've also got these development audiences as well which we know a lot about, we know how they behave. We've also gone through enough cycles now to plug that back into how they behave when they come to the museum. They're no longer just a hypothetical audience on a pen potrait, they're out there in the world, they're coming through the museum now, and we can say more about what our version of those development audiences look like and what they want to see in marketing, what they want to resonate with, what they most engage with, when they come into the branch, what do they most want to go and see? So building up this picture is kind of alongside this innovation strategy, so we can then plug it into that and amplify the results.Kelly Molson: So how do you empower your team to be more innovative? Where do the ideas come from? How do you kind of create that? You mentioned the campaign that you had with the vending machine, I think that's incredibly innovative and I can see the power of that. I can see myself walking up to it and being really interested in it. So where did the ideas come from? Is it like a team collaborative effort?Pete Austin: 100%, yeah, it's definitely within the team. So marketing communications and the digital team as well, and actually an idea can come from anywhere in the organisation. It genuinely is democratic when it comes to where the ideas come from, and often it's a collaborative process, so the vending machine idea started life within the team, but it didn't start life as a vending machine. It started life with that was the idea, what if there was a whole shop that you went into where you couldn't afford anything. Which wasn't a massive kind of cerebral leap, because that is what we were seeing in Yemen. But then we were like we can't do that. The branch of test is quite expensive marketing campaign.Pete Austin: So then the vending machine idea came through. Then the really amazing people in the team, the marketing team, who had to deal with the very interesting ins and outs of, I don't know, there was even stuff around obviously there was really basic stuff like where do we buy the food from? What do we put in it? What should the actual calculations be? Because obviously the inflation is a figure, but it's not necessarily a universally defined figure, so we had to kind of make it roughly accurate. What do you do with the food afterwards? There was so much stuff we had to think about. But the ideas come from anywhere, and they come from largely within the marketing communications digital team, but they really just get brought to life collaboration across those teams, but I'm so lucky to have such amazing teams that do that.Kelly Molson: I mean you obviously, what you've been doing, the strategy has really resonated with the audience that you're trying, because you've seen the campaigns have been successful and you've had people come through the door that you're wanting to attract. But it feels like it might have really invigorated the team internally as well. There's much more opportunity to be creative within the budgets that you have. Much more opportunity to collaborate. It feels quite exciting.Pete Austin: Yeah, hopefully. You'd have to ask them. Yeah, no, it is exciting. I think there is a bit of a misnomer about what innovation really means as well, so we have to go through a process of kind of turn definition and myth busting. Now, the vending machine is almost, for the sake of trying to explain to the team what innovation is, it's almost a bad example, because it's totally new, it's totally something the museum hasn't done before, it's a stunt. And I think sometimes innovation is seen as a marketing stunt. Well that's not necessarily innovation, putting a wrap all around Oxford Circus Chew for Stranger Things, the next series. That's not innovation, that's called having millions of pounds.Pete Austin: So I wanted to get into the team that innovation doesn't have to mean big public stunts. And a really good example is, one member of the team innovated something that was so simple, but it was such a great example, I keep using it about obviously we've got vending machines, we put a spitfire in London Bridge station for D-Day 75. This is all innovative, but it's also big and it's stunty and I don't think that's necessarily what it's all about. One of the members of the team, we're seeing that we actually put a lot of marketing spend, or maybe not a lot, but more than we'd want to in kind of shoots and modeling shoots for our campaigns, and we weren't always getting, the classic point is you put people in your marketing that you want to come into your museum, so we're not always getting what we wanted and it was always a challenge. And she was like look, we've got loads of volunteers who are people that are massively engaged at the museum, they do look like our audience, and a lot of them look like who we want our audience to look like. There's a pull there, they're engaged, they want to be involved.Pete Austin: So she started this pool of models within our volunteer group to be in our marketing. And that's just a great example of how that is exactly what we're innovating to try and innovate to do which is to diversify our audience by making people see themselves in our marketing, not a model family, no matter what they look like, they don't look like necessarily like people like themselves, and it also cuts down on marketing spend, which means we can invest it into reaching wider audiences.Pete Austin: So that's such a tiny example, but I was really pleased when that came through because I was trying to get across to the group that innovation wasn't about just going wild, having fun, and seeing how it works, and if it doesn't, don't worry about it. I was like no, we still have to be incredibly strategic about this, and obviously responsible about it as well. I didn't get given any extra money to enact this innovation marketing, so that was almost well if you want to do it, you've got to innovate on that front as well.Kelly Molson: That is such a perfect example, because I think when the word innovation is thrown into the mix, you do automatically go oh it has to be something new. It has to be something that we've never done before, and it does have to be big, a real statement piece. And I think that's what scares potentially some museums, or scares organisations because that sounds expensive, and that sounds frightening, and nobody likes big change, right?Pete Austin: Yeah.Kelly Molson: But something like that, that's an amazing way of being able to innovate, and it's saved you money, and it doesn't have to be big and shiny and flashy, but it's absolutely perfect.Pete Austin: Yeah. Well I love that example, because don't get me wrong, we've done some amazing big things as well, and the Second World War and Holocaust Galleries poster is really the biggest thing we've done because it was the biggest risk. Essentially our senior leadership and trustees were signing off a non traditional museum marketing campaign for the biggest thing the museum has done since the First World War Galleries at IWM London. So that was big and that was innovative, and its seen great results, and as we've mentioned earlier on through absolutely no foresight or nothing we saw coming, it's perhaps even more resonant and relevant right now, and that's great. But those smaller things about innovating, and that was the big process I was talking about going through with the team, you can innovate processes, you can innovate anything that makes the marketing more efficient, more spend available, we can put it into reaching those new audiences. It doesn't have to be on that front line of the creative for the campaign, it can be way further back. We've innovated some really small internal processes as well about how we do things, how we collaborate. So it hasn't all been this all singing, all dancing, nominated for awards stuff. It's been this kind of behind the scenes stuff too.Kelly Molson: This is what I was going to ask you, because it's difficult to know how you gauge the innovation strategy is successful, but I guess there's two strands to it, isn't it? And you talked a little bit about the campaigns that you've done, they've achieved what you've set out to in terms of getting the numbers through the doors. But I guess there's the other strand of internal processes like you say have been improved. So how do you know if what you've done has really hit the mark, how do you look at what the KPIs are and whether it's achieved that?Pete Austin: Yeah. Well we set KPIs and we set targets like we do for all of our campaigns, and because the innovation element of the marketing is so intertwined with the whole campaign, in essence, we wouldn't reach KPIs if it wasn't working. But that's kind of how we look back on the campaign and see how it worked. But I think if I just looked back at how long the organisations had these developed and audiences in place and how we hit target for different campaigns, we've definitely seen since we took this new approach, we've hit targets and over achieved. But also interestingly, it's hard to attribute that success directly to just the kind of marketing obviously, because part of that innovation, part of what happens in an organization when you get that senior level sign off for this approach is you then have to start having conversations with the exhibitions team, the design team, the curators.Pete Austin: It then genuinely kind of becomes cultural. So for example then, you're not sat there just receiving the next exhibition or season and being asked how to market it, because you've had these conversations, you're helping to lead that conversation, you're helping to embed that from the start, and it's nice to hear now when it's referenced as Pete's strategy, or this strategy that we've got to do, how would it fit to this if we were doing this thing? And then the great thing about that is if you're starting from that process, the KPIs are even easier to reach, because you're not pushing uphill anymore, you're kind of it's all happening together.Pete Austin: But the crucial thing for us as well, and it kind of comes back to that point you said about what other organisations do, or how it all started, is not to throw the baby out with the bath water. I think one of the big things about innovation is people are scared of it because they're like hang on a minute, I don't want to massively effect what's going really well already, and we definitely didn't do that. If you look at IWM's output, we've not stopped doing what we think is really appealing to our core audiences. We still do a lot of that. Its just also happening alongside it and to compliment it, and it's crucial that you can kind of do that sensitively as well.Kelly Molson: Yeah. So that's really important, isn't it? Because it's not all in one or all in the other. You've got to have this as part of kind of an intertwined strategy I guess with the core audience that you have who are maybe not going to be as kind of engaged with some of the more innovative things that you've done.Pete Austin: Yeah.Kelly Molson: What would you do differently? Is there anything that you've learned while you've been through the process that you think that you would have done in a different way? You can say no if you feel like you've nailed it. No, nothing.Pete Austin: No. I think I would have, I think it was a really, really collaborative process, but there were definitely areas of the museum I would have engaged earlier in this process, I think. Ideal world, I would have sat down with everyone, one by one, and we would have talked about what this means and their hopes and dreams and fears for what innovation in marketing means, and I think it was sometimes hard for me to have conversations with perhaps curators and people that were working, because often this manifested itself in the marketing for an exhibition. So these people are in this day in, day out, and for something like Yemen as well, not necessarily this is an example, but for something like Yemen, these are curators who are actively trying to bring objects back from a life conflict. To say they're invested and to say they're kind of absolutely in this would be an understatement. Some of the stories they can tell you would be amazing about how we get these objects back from essentially a live conflict.Pete Austin: So then to say to someone, I'm going to put a vending machine in Manchester Piccadilly Station and the poster for your exhibition that you've probably almost risked your life on is going to be a box of eggs. It's like okay, that's not the time to have that conversation. The time to have that conversation was 12 months earlier and really talk it through. But 12 months earlier, the strategy hadn't been signed off. So I think I would just try to speak to teams who were actively involved in whatever product it would be that we were doing the innovation marketing for as early as possible, and the great thing now is everyone knows this and we're in a process. For example, the Second World War and Holocaust Galleries, we set out our ambitions through that kind of campaign from the very start, pre COVID that was our plan, and then we ended up delivering it in October last year. So that's a great example of how it does work, but the challenge is getting those people on board and helping to understand why you're doing things, and also crucially understand why you're not doing it, not just, like I said, for a laugh, or just because it's more fun. It's like this will genuinely resonate more with the audience we want to visit the exhibition.Kelly Molson: The crux of it comes down to communication, communication, communication with anything like this.Pete Austin: Yeah.Kelly Molson: There will be other museums, there will be other attractions out there that I think there's something they definitely need to do, because everyone's in a situation now where they have a core audience, but yes, they do need to look at new audiences coming through and how they're going to attract those.Pete Austin: Yeah.Kelly Molson: What advice would you give to other museums at this point who are thinking they would like to be more innovative about the campaigns that they're launching.Pete Austin: Yeah, I think my advice always would be to start with the audience you're trying to reach, and that's what we did, and that's really where it was all formed from, really looking at the audience growth strategy that we've put in place and go how do we want to reach them, and do we need to innovate to reach them? Or do we just need to keep doing what we're doing, but do it slightly differently. And I know that's technically innovating, but it's not really. Do we just need a slightly different marketing mix is not innovation. I'd root everything in that. We had some audiences that we ended up reaching way more effectively than we thought. We had some that we didn't. That was the kind of landscape I was coming into. So it's really a case of trying to work out and crucially agreeing with the organisation who you should be targeting, and then whether you really need to innovate to do it.Pete Austin: I think you definitely, definitely need buy in, you need senior buy in. It's not something, not that any strategy is, but something like this is definitely not something you can just do, because if you just do it, and you don't do it with a plan for how you're going to continue to keep doing it, then it's just a flash in the pan and it's the very definition of a stunt rather than a strategy. I was very fortunate in that the senior team and trustees were on board with this idea and this approach.Pete Austin: And then I suppose, just to come back to that point I made earlier, don't overhaul change things. Don't go too far. Innovation doesn't mean chucking everything out and starting again, it can mean tweaks. It can just mean how are we going to innovate in this one area. It's like a research and design department in a way, just focus on one area at a time if you want to see where the results might come with out effecting the entire organisation. There's no way we'd of started any of this with the Second World War and Holocaust Galleries and maybe even if Yemen didn't reach over visitor target and the campaign didn't get as much press and didn't get as much attention as it got, maybe we wouldn't have carried on with it. It's just we would have always reflected and worked out whether that was the right thing to be doing. We're not carrying on belligerently in the face of the whole world telling us it's not working. This is kind of the process we're going through.Kelly Molson: Communicate and then actually listen to what your audience is telling you.Pete Austin: Yeah. Just basics.Kelly Molson: Good advice, Pete.Pete Austin: Yeah.Kelly Molson: What's coming up next for IWM? What interesting things are happening in the next few months?Pete Austin: We've got a lot going on. Like all visitor attractions and museums, we're just getting back up and running, really. We're really enjoying that. We've got a big exhibition coming up at IWM London later this year on war gaming, so that should be really interesting. And yeah, trying to get people back on the HMS Belfast, onto the ship on the Thames. Summer campaigns around that, more activities especially for families, getting people used to going out again, visiting London, going to those big attractions. Churchill War Rooms, we're slightly revising the offer at Churchill War Rooms with a view to getting more people back there, hopefully international tourists come back, that's a common theme, a common thread with all your guests and all of the discussions around the sector. And yeah, just really getting things up and running again and getting people back, I suppose.Pete Austin: I'm interested as well, not to make a big point about it, but for us as well, we're looking at how we do or don't react and reflect and contextualise the current world events. We have a role and a remit and our role and remit is to really kind of deepen understanding of these conflicts and how conflict starts and how it progresses and the impact on peoples lives, and I don't think we could necessarily ignore what's going on at the moment in Ukraine, but as an organisation it's how we react to that, what our role should be, because that's a really interesting life topic at the moment.Kelly Molson: Yeah, definitely. And yeah, there's a level of sensitivity that needs to run through everything that you're doing in terms of that as well.Pete Austin: Exactly. We're very well placed for that. I always joke that we're the experts on dealing with sensitive topics. We really, really do it every day. You're not the global authority on the Holocaust or one of the world's most respected Second World War and Holocaust galleries without knowing how to tackle a few tangled subjects. So I think it's something we can do, it's just something we've got to look at how we do it and how we execute it. But yeah, it's really interesting time.Kelly Molson: Yeah, absolutely. Well I have one more question for you, but I also have a request, Pete, while I have you here. So it's for Duxford, which is my local Imperial War Museum.Pete Austin: Okay.Kelly Molson: I'm like 15 minutes away from Duxford.Pete Austin: Right.Kelly Molson: I mean, Duxford is fantastic, it's an awesome place to go and have a look around. I'm not necessarily even a plane nut, but wow, it is seriously impressive. You do need to be, and we've seen the air shows multiple times. I had a brilliant evening out at Duxford a few years ago where they had an open air cinema, and they showed my favourite film, Pete. They put Top Gun on. We watched Top Gun underneath the planes, we had to walk into the hangers to go to the toilet, it was absolutely phenomenal. Can you make that happen again? Can you make that happen? Put in a word?Pete Austin: I'm sure we can, yeah, I'll put in a word. Those kinds of things are amazing, aren't they? I'm sure you and anyone that's ever worked in visitor attraction and organisation knows how hard those things are to put on as well, because they often sit so isolated from your kind of rolling program and all that stuff. You mention air shows, you get into a rhythm of running two, three air shows a year, and suddenly they're really well oiled machines, and those stand alone events are sometimes a challenge, but they're also a massive example of how we can get people in who, like you say, don't just want to come necessarily to see the planes. I'll put in a word.Kelly Molson: Appreciate that.Pete Austin: And if we can't do it, we'll just get you to drive in, we'll put a TV screen up, you can just park your car in front of a 40 inch screen, we'll put Top Gun on.Kelly Molson: Great. I'm down for that as well. All right Pete, what about a book that you love? We always end the podcast asking our guests if they've got a book that they love that they would like to share with us?Pete Austin: Yeah. Again, I had a long think about this. So I used to be a journalist, so I feel like it kind of reflects on you when you're asked about your favourite book. I don't ever really recommend or have any strong recommendations for kind of marketing books. I'm not one of those people. I've always been a learner through people teaching and listening and engaging, so I'm not a big book person up front. I think a book that is definitely, I've read at every stage of my life is Animal Farm, by George Orwell, and it's meant something at different stages. I always come back to it, there's a few books I always come back to, and maybe I'm not going to re read it, but I've genuinely re read that book so many times, and I just think maybe that's what maybe early days when I was reading it, Orwell's kind of approach and commentary was something that made me even want to become a journalist.Pete Austin: So that's the main book, but then I'm also, my wife made me say that's a great answer, but if anyone ever sees you now going to see you reading a trashy poolside thriller and they're going to ask why you're not reading something from George Orwell's cannon, and that is true. I don't know about you, but when I go away, I don't want to have to think-Kelly Molson: No. You want escapism.Pete Austin: Yeah. So go and buy and book, or usually go to the charity shop, grab the trashiest thriller book you can get. So yeah, if anyone ever sees me at the Holiday Expo, don't expect me to be reading 1984 or anything. It's going to be-Kelly Molson: Some James Patterson on his back, that's what he's got.Pete Austin: Yeah.Kelly Molson: I love it. Brilliant. All right. Well thank you, Pete. That's a great recommendation of a book. So as ever, if you want to win a copy of Pete's book, if you go to our Twitter account and you retweet this episode announcement with the words I want Pete's book, then you'll be in with a chance of winning it. Pete, it's been really lovely to have you on the podcast today. Thank you so much for coming on and sharing. Just for anyone listening, what we'll do is Pete will very kindly share me links to all of the things that we've talked about today, so you can go and have a look at the campaigns that we've discussed from the show notes. Please go and visit the Imperial War Museums if you haven't been. If you haven't been and you're listening, you're mad. Go. They are absolutely incredible places. Go and learn and understand about the things that have happened to people from the past. Thanks, Pete.Pete Austin: No worries. Thank you very much.Kelly Molson: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip the Queue is brought to you by Rubber Cheese,, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, rubbercheese.com/podcast.

Today’s episode of Athletes Authority ON AIR is episode 66 with co-host Jordi Taylor. Today’s guest is Hewitt Tomlin, Co-Founder and CEO of Teambuildr with over 3,000 customers servicing coaches and athletes from high school to the NFL. As CEO, Hewitt personally works with thousands of human performance programs where programming for numerous athletes and clients is a tedious (but mandatory) part of being a coach. TeamBuildr helps coaches by: - Send their productivity through the roof with athlete categorisation and customisable workout templates. - Take their strength program into the social and digital age with a 100% online platform. - Look like an absolute champ when you send monthly performance reports to your athletes, clients, AD or sport coaches. - Reduce the time spent inputting training data and writing sophisticated programs to as little as 1 hour per week. - Provide a training experience that is perfect for the millennial athlete with built in social functionality. In this episode, Hewitt shares the humble beginnings and creation of Teambuildr from his college dorm room, how Teambuildr’s business model has adapted and changed, the importance of curiosity and innovation, the challenges of growth, his insights as a leader/ CEO including some of the lessons along the way, marketing tips for 2022 plus a whole lot more! This episode has plenty of incredible insights for coaches and business owners looking to understand the behind the scenes of a SASS company. Enjoy, and let us know what you think! Instagram: @athletesauthority See more of what we do: https://athletesauthority.com.au See omnystudio.com/listener for privacy information.

Today’s episode of Athletes Authority ON AIR is episode 66 with co-host Jordi Taylor. Today’s guest is Hewitt Tomlin, Co-Founder and CEO of Teambuildr with over 3,000 customers servicing coaches and athletes from high school to the NFL. As CEO, Hewitt personally works with thousands of human performance programs where programming for numerous athletes and clients is a tedious (but mandatory) part of being a coach. TeamBuildr helps coaches by: - Send their productivity through the roof with athlete categorisation and customisable workout templates. - Take their strength program into the social and digital age with a 100% online platform. - Look like an absolute champ when you send monthly performance reports to your athletes, clients, AD or sport coaches. - Reduce the time spent inputting training data and writing sophisticated programs to as little as 1 hour per week. - Provide a training experience that is perfect for the millennial athlete with built in social functionality. In this episode, Hewitt shares the humble beginnings and creation of Teambuildr from his college dorm room, how Teambuildr’s business model has adapted and changed, the importance of curiosity and innovation, the challenges of growth, his insights as a leader/ CEO including some of the lessons along the way, marketing tips for 2022 plus a whole lot more! This episode has plenty of incredible insights for coaches and business owners looking to understand the behind the scenes of a SASS company. Enjoy, and let us know what you think! Instagram: @athletesauthority See more of what we do: https://athletesauthority.com.au See omnystudio.com/listener for privacy information.

"Innovar Siempre!" entrevista a Paola Loiacano, Head of Open Innovation Marketing Hispam Telefónica para el ciclo digital El CRIC es Todos los Días!

L'employee Advocacy (devenir ambassadeur de son entreprise) : le secret pour conquérir LinkedIn et devenir incontournable sur son secteur. Dans cet épisode, découvrez comment faire de vos employés, vos meilleurs ambassadeurs sur les réseaux sociaux. ▬ Ressources   ▬▬▬▬▬▬▬▬▬▬Canva : banque de visuels partagée ▶ La suite ?

Accélérez sur LinkedIn : coaching spécial abonnésOptimiser son profil, c'est la première brique élémentaire pour gagner en visibilité et en conversion sur LinkedIn.  Dans cet épisode, je vous explique comment créer un profil qui travaille pour vous ! Bénéfices : - booster votre preuve sociale - assoir votre crédibilité - générer des leads ▬ Ressources   ▬▬▬▬▬▬▬▬▬▬Éditeur de photo de profilCompteur de caractères     Polices spéciales  ▶ La suite ?

"Co-marketing et Partenariats", découvrez la puissance du Marketing à plusieurs. Seul, on va plus vite. Ensemble, on va plus loin. ▬ Programme  ▬▬▬▬▬▬▬▬▬▬

Connaissez-vous le "Vlog", le Blog en format Vidéo ?Adulé des Youtubeurs, en particulier aux États Unis, en France, ce format est délaissé des sphères business... à tort ! Le Vlog (blog vidéo), moi j'y crois fort ! En France, Léna Mahfouf, G. ‎ont ouvert la voie - sur leurs thématiques. Et ce n'est pas tout. Le succès de Maddyplay, de chaines YouTube comme Business Impact témoignent d'une fascination grandissante ... pour l'aventure entrepreneuriale ! À toute échelle. Solopreneurs, freelances, serial-entrepreneurs, etc. "

Poster sur les réseaux pendant les vacances... on comprend que certains aient la flemme. Et pourtant...

Les onglets ouverts dans le navigateur, quel cauchemar ! Avec ce hack, tu ne perdras plus jamais aucun onglet dans ta barre de navigation. Tu gagneras aussi en productivité pour ne pas perdre ton attention pendant ta journée de travail. GAME-CHANGING, pour de vrai !

D'accord, pas d'accord ?Rejoindre la conversation ici ⚡ eLinkedin est LE réseau socia l BtoB.Quelques chiffres : 17M d'utilisateurs actifs par mois en France 52% d'hommes, 48% de femmes Moyenne d'âge estimée de 44ans  85% des decideurs BtoB en France utilisent Linkedin  ... Forcément, ça donne envie de faire de la pub ! Guilhem Tabard est Client Solution Manager chez Linkedin. Il est le gardien des dépenses des clients stratégiques de LinkedIn. Dans cet épisode, il nous dévoile ses secrets pour créer une campagne publicitaire sponsorisée sur LinkedIn et les nouveautés LinkedIn à venir (exclu !). Mais chut. Key learning ▬▬▬▬▬▬▬▬▬▬    

Bousculer l'industrie de la mode grâce à la Collab ! Avec Camille Le Gal, Co-fondatrice de Fairly Made. Fairly Made est une marque BtoB et BtoC de mode éthique et engagée. Pour Camille, le partenariat a été un élément clé de leur réussite, elle nous raconte pourquoi. ▬ Programme  ▬▬▬▬▬▬▬▬▬▬ Intro et partenariats chez Fairly Made 10:07 - Grandes étapes, feuille de route et cycle de vie du partenariat 15:15 - Case Study : Fairly Made x Des Petits Hauts 20:25 - Quels sont les outils de gestion et KPI ? 27:40 - Comment se gère la partie légale (revenus, contrats) ? 31:47 - Questions/Réponses (futur, calculateur d'impact) ▶ La suite ?

Nous parlons souvent des "chefs de projet Marketing", des "chargés de com", des "commerciaux", etc. Il existe un poste très spécifique dans le secteur que la plupart des gens ne connaissent pas. Celui de responsable de partenariat ou ... "partnership manager". Quelles sont les responsabilités de ces "gestionnaires" de partenariat ? Siham Laux est l'une de ces rares chanceuses à occuper ce poste. Dans cet épisode, elle nous parle du rôle de responsable de partenariat. Programme ▬▬▬▬▬▬▬▬▬▬    

Trouver un partenaire stratégique est difficile. Voici une méthode simple que j'utilise pour identifier un partenaire stratégique solide.

Le Co-marketing est peut-être la tactique Marketing la plus puissante et la plus efficace. Bien menée, elle permet à votre entreprise de bénéficier d'une exposition massive, de nouer des relations fructueuses avec des business compatibles et influents du secteur et de faire des économies d'échelle. Mais, il existe autant d'actions de Co-marketing... que d'actions Marketing ! Et tous ne servent pas les mêmes intérets. À vous de les sélectionner et de les combiner intelligemment. Vous vous demandez quel type de partenariat choisir ? Cet épisode vous aiguille sur les objectifs clés et différences à connaitre. ▬▬▬▬▬▬▬▬▬▬   

It's time to break down real SaaS marketing problems - with a sour twist. Garrett Mehrguth interviews marketing leaders from around the world while they're challenged to get their words out - puckering with sour candy/food they consume throughout their conversation. Guest: Senior Vice President, Customer Innovation & Marketing at Jivox, Anna Luo!

Are comfort foods still trending? Why are so many brands doing product-mashups? And is plant-based here to stay?  We answer those questions and more during this episode of the Food For Thought podcast.  In this episode, we've got Arwen Kimmell, Director of Innovation Marketing at JPG Resources helping us predict what product innovation will look like for the rest of 2021 and into 2022. You won't want to miss this episode because we break down the what, the why, and even the when of food and beverage product innovation for the next year.  Learn more about JPG Resources Read the full transcript on Food Processing

Following on from our workshop which aimed to help veterinary innovators develop marketing tools and techniques for their products and services. Anthony Roberts, former RCVS Director of Leadership and Innovation and Daniel Johnson, a consultant in marketing and growth, Discuss the importance of marketing in successful innovation and start-ups.  During the course of the workshop attendees will learn: The principles of marketing and how to apply them in your business How to identify and understand the needs of your target market How to capture and communicate the value of your innovation How to create messages that resonate with your audience How to develop a brand and ensure lasting customer relationships How to pitch your innovation to investors How to develop a marketing strategy We hope you find this discussion useful, you can find more resources on the ViVet website.    www.vivet.org.uk/resources       

Prof. Dr. Andreas Helmut Grün im Gespräch mit fünf Experten aus dem Gesundheitswesen. In dieser Folge im Studio: - Dr. Peter Aulbach, Head of Technology & Innovation Marketing, Siemens Healthineers - Dr. Sven Jansen, Vorstand, Executive Board Member, Noventi Health S.E - Sebastian Rethage Rethage,Business Development Manager Healthcare, Zebra Technologies - Stefan Seyler Seyler, Leiter des Münchner Standorts , Deutsche Ärzte Finanz - Michael Waldbrenner, Geschäftsführer, Deutsche Telekom Clinical Solutions Ausstrahlung der Sendung im Programm von L-TV Landesfernsehen (www.l-tv.de) Weitere Folgen von Digital Health TV finden Sie auf unserem YoutubeChannel oder unter www.bgm.ag/digital-health-tv

Stephanie Lampkin, a TEDx speaker and former downhill ski racer, is the founder and CEO of Blendoor, which creates enterprise software that leverages augmented intelligence and people analytics to mitigate unconscious bias in hiring. Her 15-year career in the tech industry has included founding two startups and working in technical roles at Lockheed, Microsoft, and TripAdvisor. In this conversation with Stanford lecturer Emily Ma, she discusses her experiences as a Black woman in tech, the importance of expanding our social graphs to solve diversity challenges, and why she's largely opted out of chasing traditional venture capital.

Coulisses d'une Capsule Collection Co-Brandée avec Sylvette Boutin-Lepers, Directrice des Partenariats chez La Redoute. La Redoute est la 1ère marque Française à créer une Collab en 1969 !  Cinquante ans plus tard, avec plus de 100 collaborations à son actif, La Redoute a développé une véritable expertise en la matière ! Quand on pense "Collab", on pense tout de suite aux marques de Mode. La collaboration a permis à beaucoup de marques d'émerger ou de se pérenniser dans un secteur hyper concurrentiel comme celui de la Mode. Deux marques, deux univers se rencontrent et créent un "Co-branding" : un mix fou entre deux identités ! Un Co-branding permet : Aux marques établies d'aller chercher le "second souffle" en termes de désirabilité, de créativité ou d'attractivité Aux petites marques d'aller chercher de la visibilité, passer à l'échelle, pénétrer de nouveaux circuits de distribution, etc.  Dans tous les cas... de se faire connaître, gagner en crédibilité et en savoir-faire. La collaboration tout le monde en parle, mais peu comprennent comment la mettre en place et la normer. Sylvette Boutin-Lepers, directrice des Partenariats Image et Créateurs chez La Redoute nous parle de ses meilleures Collabs Mode ! Retrouvez cette interview en vidéo Programme ▬▬▬▬▬▬▬▬▬▬   1:08 - Parcours personnel et histoire de la Redoute   4:07 - Les enjeux du partenariat    5:23 - Comment identifier un partenaire idéal ?  10:00 - Comment gérer l'opérationnel ? 12:22 - Les grandes phases de création  15:03 - Les procédures légales 16:10 - Les canaux de communication  21:39 - Case-study : About A Worker x La Redoute 26:32 - Comment mesurer le succès ? 33:19 - Exemples de collab réussies 34:46 - Mauvaises expériences 37:18 - La collab est-elle le retail d'aujourd'hui ?  40:00 - Inspirations Interview ▬▬▬▬▬▬▬▬▬▬ Sylvette, quel a été votre parcours pour arriver à la direction des Partenariats ? J'ai débuté à La Redoute en 1993 exactement, j'avais une folle envie de rentrer dans la vie active. J'ai commencé par des jobs de vacances à La Redoute et je ne suis plus jamais partie ! Je ne me suis jamais ennuyée. J'ai débuté en tant que gestionnaire, avant d'être acheteuse, j'ai ensuite rejoint le département Presse. Pendant quelques années, j'ai dirigé l'équipe de style de la marque en propre (70 % des collections) que ce soit en mode ou en design. À ce moment, je m'occupais déjà des collabs créateurs. Depuis quatre ans je me consacre complètement aux capsules créateurs et aux partenariats, un riche et beau sujet. Il y a donc de vrais enjeux derrière ces partenariats ? Oui, il y a de vrais enjeux car on veut donner corps à une promesse et un engagement qu'on a depuis le début : soutenir la création ! Cette créativité, ce sens de la création a toujours été dans son ADN. L'idée de départ de collab créateur est venue en 1969 où le prêt à porter et la haute couture n'était pas à la portée de tous. L'idée était de rendre accessible le style aussi bien en termes d'offre de collection style, qu'en termes de prix. En 1969, la première invitée fut Emmanuelle Khanh, et depuis cela n'a jamais cessé. Comment identifier un partenaire ? On l'identifie ou il nous identifie. Je contacte des créateurs, je suis toujours en éveil : les salons, les écoles de mode, la presse, les relations... Mais aussi de plus en plus de jeunes créateurs qui m'approchent. C'est un métier de contact, les choses se font assez naturellement. Les réseaux sociaux: Twitter, LinkedIn ou Instagram sont aussi un excellent moyen de me contacter. Beaucoup d'humains, mais qu'est-ce qui fait qu'une marque se distingue d'une autre sur le papier ? Il faut partager les mêmes valeurs, c'est vraiment une envie partagée. Je pense qu'il faut avoir envie de faire un bout de route ensemble. Les choses qui fonctionnent bien sont des choses faites avec beaucoup de simplicité et de naturel. Il n'y a pas de cahier des charges établi : impératifs de volume, maturité de marque, etc. C'est avant tout une histoire de rencontre, de sens. Quand j'approche un créateur, je n'arrive pas avec mes idées que l'on pourra faire dans nos collections. Je viens pour avoir le parfum de sa marque, son ADN. En revanche, je dis ce que je ne souhaite pas. Par exemple, nous ne ferons pas de fourrure, pas d'Angora, pas de Mohair. Il faut beaucoup de respect et beaucoup de transparence sur ce type de démarche. Lorsque deux marques ne sont pas sur  les mêmes process, comment ça se gère sur le terrain ? Je travaille avec une équipe très réduite. Il faut que ce soit un circuit très court, que le créateur soit mis en confiance aussi bien sur la partie création des vêtements d'accessoires que sur la partie "communication". Je préconise une équipe extrêmement réduite : le créateur, une modéliste (technicienne du vêtement) et moi-même. Je délègue ensuite à des équipes dédiées (commandes, marchés), mais cela n'est pas visible pour mon partenaire que je ménage au maximum. Qu'est ce qui se passe entre le moment où il y a un brief établi et le moment où la collection arrive en magasin ?Quelques mois seulement ! 1ère rencontre : on décide de travailler ensemble 2ème rencontre : en présence de la modéliste.On travaille ensemble à délimiter la collection : mode, accessoires, nombre de silhouettes. C'est le moment de mes recommandations. En général, je préconise seulement 2/3 silhouettes sinon on s'y perd un peu ! On travaille sur base de croquis, de pièces existantes sur lesquelles on va s'adapter pour en faire des exclusivités.Le créateur nous fait part de ses envies en termes de matières, de supports, du moindre détail jusqu'à la couleur des boutons ! Trois semaines après : nous lui présentons nos recherches. La modéliste les présente. Trois semaines après : la pièce est montée, on la présente au créateur. Trois semaines après : second essayage. On vérifie les choses à modifier. 1 mois après, séance de shooting. Entre deux, on a eu un partage avec notre Direction Artistique sur la partie communication / shooting Mise en ligne sur notre site, sur notre e-shop, à l'international (26 pays) et dans les corners Galeries Lafayette. Comment est-ce que ça s'organise au niveau légal ?Le créateur cède ses droits ? Et la répartition des coûts ? Cela dépend. On ne peut pas donner un chiffre moyen. La règle de base chez nous : il y a toujours un intéressement du créateur au chiffre d'affaires, accompagné d'un tarif fixe. Niveau plan de communication, il y a une feuille de route ou c'est au cas par cas ? Je pense que dans comme dans tout sur tous les sujets, plus les gens sont impliqués, plus ils verront un intérêt à ce qu'il font. Pour que les créateurs soient satisfaits, il faut qu'ils soient dans toutes les étapes. On partage tout, c'est indispensable. Pour le shooting par exemple, ça arrive souvent que le créateur soit habitué avec un photographe ou ait des envies particulières. Cela contribue aussi à la visibilité pour ces jeunes talents. On parle des jeunes talents mais il y a d'autres formes de collaborations. Il va y avoir collaboration avec des grandes maisons qui ont beaucoup été d'actualités pendant un certain temps. Je pense que tous les plus grands noms ont pu nous faire l'honneur de créer une collection avec La Redoute (Saint-Laurent, Sonia Rykiel, Karl Lagerfeld...). Il y a aussi ce que j'appelle la toute jeune création où des collections étaient très intéressantes avec un grand niveau de créativité. Donc là c'est plus, d'un côté, un soutien à la jeune création avec des jeunes méconnus de personne, qui n'ont pas encore intégré une école de mode ou créé de label. Puis d'un autre côté, un soutien à la jeune création connue de la presse et d'un milieu petit. Il y a aussi des collaborations avec des marques. Ce ne sont pas forcément des créateurs mais des marques agiles et dans l'air du temps. Cela permet d'aller nourrir de nouveaux univers, il y a une vraie communauté et un vrai intérêt. Enfin, des projets différents qui sortent du cadre. Par exemple, on a fait une collaboration avec l'Olympique Lyonnais Féminin. Là, c'est une autre forme de collab qui rebondit sur un évènement et nourrit notre propos d'aider la jeune création. Aujourd'hui vous aviez envie de nous parler d'un type de partenariat que vous avez brillamment mené chez La Redoute et qui sort complètement du lot. Pouvez-vous nous en dire plus ? Je vais vous parler d'un partenariat que nous avons fait avec About A Worker, un duo que j'ai rencontré il y a quelques années avec un discours qui m'avait beaucoup intéressé ; mettre l'ouvrier, l'employé textile au cœur de la création. Ils étaient en train de préparer une collection avec des femmes emprisonnées dans une prison à Venise et je me disais que faire travailler les personnes qui ne sont pas du sérail de la mode est très intéressant. À La Redoute nous avons des entrepôts, un centre logistique et des employés qui touchent du vêtement, préparent les vêtements mais qui ne sont pas intégrés dans le processus de création. Néanmoins, ils ont un avis sur le vêtement. Donc l'idée est partie de là, j'ai proposé au duo de faire des ateliers de création avec un certain nombre de workers de notre entrepôt. On a proposé le projet aux collaborateurs de nos entrepôts. Beaucoup de personnes ont répondu favorablement. C'était l'idée d'une collection collective. Je donne cet exemple là parce que c'est aussi une forme de collaboration, nous avons créé des vêtements que nous avons vendu. Mais cette collaboration était totalement différente parce que vous avez des personnes créatives d'univers très différents qui avaient envie de s'exprimer sur le vêtement. Elles n'emploient pas forcément les mêmes termes, ne connaissent pas forcément la différence entre une viscose et du polyamide. Il n'empêche qu'autour de ce vêtement, ils parlaient le même langage. Le processus a pris plus de six mois et il y a eu une belle visibilité. Sur une opération comme celle-là, comment mesurer le succès ? Qu'est-ce que vous utilisez pour tracker ? C'est une des grandes forces de La Redoute de savoir que tout ne peut pas être au même niveau. Il y a des créateurs ou les collections sont plus commerciales que d'autres. On fait cela pour un soutien à la création. Il faut innover ! Cela va au-delà d'une capsule créateur, on parle d'échange, d'humain. Évidemment, on a envie de vendre mais ce n'est pas le sujet premier. Il doit y avoir une adhésion en interne. Le succès vient aussi de la contribution des partenaires. Comment La Redoute a-t-elle capitalisé pour donner écho à cette opération ? De nouveaux leviers ont-ils été activés par La Redoute sur une opé comme celle-ci qui casse un peu les codes ? Non, pas plus que d'autres. Peut-être effectivement une exposition au sein du design. Quand on fait un partenariat créateur les moyens sont toujours à peu près les mêmes selon les opportunités et selon le partage avec le créateur. Cherchez-vous en ce moment chez La Redoute des nouveaux partenariats ? Je cherche toujours. Quelques fois on ne trouve pas mais je suis toujours en veille, d'un tempérament curieux donc tout m'intéresse. Je ne ferme jamais la porte, encore une fois il faut qu'il y ait un sens. On peut me contacter via LinkedIn et Instagram sans aucun problème. Avez-vous d'autres idées de collab réussies chez La Redoute ? On peut mettre beaucoup de choses derrière le mot "réussi". Je vais donner ma vision du "réussi" : Vanessa Seward avec une notion d'élégance à la française qui va bien à La Redoute.  La collection Sœur qui a des codes qui nous conviennent bien.  Dans un autre registre, Mossi qui est un jeune créateur que j'aime beaucoup. Et bien d'autres, je n'en préfère aucune, je les aime toutes ! Comment faire pour se prémunir d'une collab qui se passe mal ? Avez-vous eu de mauvaises expériences ? Il peut y avoir un premier contact parce qu'on est curieux et, de façon évidente, on se dit que ça ne va pas forcément être intéressant pour x raisons. Je veux juste de la transparence. Les choses doivent se faire naturellement, créer un lien de confiance. Quand je ne sens pas, on ne fait pas. Je n'ai pas de mauvais exemple car ça se fait toujours en bonne intelligence et parce que l'on a envi. J'ai en face de moi des personnes extrêmement passionnées avec beaucoup d'énergie, je me dis qu'il y a forcément quelque chose à faire. Selon vous, la collab est-elle déjà le retail d'aujourd'hui et demain ? Je ne sais pas, on voit beaucoup de collab et c'est un bon moyen pour se faire remarquer mais il faut qu'il y ait du fond et du sens. Est-ce qu'il y a chez d'autres marques des collaborations que vous auriez aimé mener ou qui vous ont tout simplement inspiré ? J'aime beaucoup en ce moment celle de The North Face avec Gucci. J'aime les associations qui sont quelquefois un peu surprenantes. C'est bien de faire des associations quand ça a du sens car cela semble assez évident mais quelquefois quand c'est moins évident ça interpelle un peu plus. ▶ La suite ?

Randy Robertson from Innovation Marketing and Consulting joins Game Time to break down how the #SuperBowl commercials rated and more.

Itérer, se transformer, s'adapter en un temps record

Quale futuro per il mondo della telefonia? Come sta cambiando il settore? In questa puntata abbiamo avuto il piacere di parlarne con Vittoria Ballerini, Innovation&Marketing manager di Vodafone.

In this wide-ranging conversation Southern New Hampshire University President Paul LeBlanc, one of higher ed's leading innovators, will share how the Jobs To Be Done theory (understanding the “job” for which customers hire a product or service) helped fuel SNHU's transformation and how this framework can serve other institutions. LeBlanc will also share his perspective on the future of higher education and what leaders should be thinking about for 2020. Additional topics will include SNHU's marketing and brand-building strategies and LeBlanc's approach to presidential communications.