How to Launch a Brand (2nd Edition): Your Step-by-Step Guide to Crafting a Brand: From Positioning to Naming And Brand Identity

How to Launch a Brand (2nd Edition): Your Step-by-Step Guide to Crafting a Brand: From Positioning to Naming And Brand Identity

This book will guide you through the steps necessary to build a brand from the ground up:

Step 1 (Chapter 1): Create a brand platform
Step 2 (Chapter 2): Devise a brand name
Step 3 (Chapter 3): Design your brand’s identity
Step 4 (Chapter 4): Craft your brand atmosphere touch points

Most entrepreneurs, even seasoned brand managers, launch first and then work on slowly transforming the new offering into a brand. A logical progression, I would agree. After all,

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IMG_4051 Peder Severin Krøyer 1851-1909. Copenhague, Paris, Skagen. Vue de Ravello. View from Ravello. 1890 Copenhague Collection Hirschsprung
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Peder Severin Krøyer 1851-1909. Copenhague, Paris, Skagen.
Vue de Ravello. View from Ravello. 1890
Copenhague Collection Hirschsprung

LA RUPTURE IMPRESSIONNISTE

Une partie des peintres de Skagen s’inspire des impressionnistes français et leur voyages à Paris furent fréquents.
L’impressionnisme n’a pas été facilement accepté en France. Les techniques impressionnistes, l’esquisse et le tachisme, heurtaient les habitudes antérieures.
L’esquisse a toujours existée. Elle permettait de conclure un contrat avec les commanditaires en leur donnant une idée du tableau, et de la manière dont le peintre envisageait de traiter le sujet. L’esquisse était nécessaire pour avoir le droit de se présenter à l’Académie. Mais les commanditaires exigeaient, au final, une oeuvre achevée, au dessin rigoureux, fini, précis. Un peintre n’était pas reçu à l’Académie sur une esquisse.
L’impressionnisme prenait le contre-pied de cette esthétique classique en faisant de l’esquisse et du tachisme un système.
D’un point de vue classique un tableau impressionniste n’est pas achevé.
Les impressionnistes, systématisaient l’Art du Flou.
Parmi les techniques développées au cours du 19è siècle l’Esquisse a été une des meilleures expressions de l’Art du Flou.
L’Art du Flou a été pratiqué de manière géniale par Léonard de Vinci. Le "Sfumato" est, dans le cadre d’une peinture très figurative et parfaitement finie, comme la Joconde, les Vierges au rocher, ou Saint Jean Baptiste, une ébauche d’art du flou.
L’Esquisse a été dans l’histoire de la peinture un projet, une étude préparatoire, qui permettait à l’artiste de s’assurer de la cohérence et de l’équilibre de son tableau fini. Dans ce cas, le plus souvent, le flou n’est qu’une approximation, un brouillon, le témoin d’un art incomplet qui demande à être achevé.
Mais de nombreux artistes, au cours des siècles passés, ont parfaitement compris que l’esquisse pouvait, parfois, exceptionnellement, être une oeuvre achevée.
C’est à dire une oeuvre dont une grande majorité de spectateurs, experts ou non, ressentaient impérieusement que RIEN ne devait lui être ajoutée. Ce n’est pas une définition mathématique, mais c’est la meilleure.
L’esquisse n’est une oeuvre achevée que lorsqu’elle est créatrice d’une atmosphère singulière, particulièrement suggestive, porteuse d’une poésie qui lui est propre, unique. Quand il apparaît de manière évidente que plus de précision dans le dessin fermerait les portes à l’imaginaire, au mystère, et détruirait un équilibre subtile entre le rêve et la réalité.
Le dessin trop précis peut en effet fermer les portes à l’imaginaire, alors que le flou qui caractérise l’esquisse peut les ouvrir. Les photographes le savent bien aussi : Le flou peut être simplement flou, mais il peut aussi être une invitation à ressentir un mystère et à participer à une énigme. Le spectateur est invité à meubler par son imagination le flou qui lui est proposé.
Mais c’est une alchimie dont seuls les grands artistes, peuvent, exceptionnellement, pénétrer le secret.
Le grand maître de cette technique, et celui qui, le plus précocement, l’a poussé le plus loin, a été William Turner (1775-1851).
Delacroix a été aussi, un peu après Turner, un des grands précurseurs de l’art de l’esquisse, et comme lui de l’Art Moderne. Par exemple dans la "mort de Sadarnapale" mais aussi dans bien d’autres tableaux. Mais Delacroix est aussi un exemple des limites de cette technique. Toutes les techniques rencontrent, à un moment ou à un autre, leurs limites.
L’Art de l’esquisse est redoutablement difficile, car il ne suffit pas de dessiner schématiquement un sujet pour faire une belle oeuvre. De même qu’en photographie de nos jours, il ne suffit pas de dessiner et de peindre flou pour créer une oeuvre d’art.
Le flou peut n’être qu’une approximation, bâclée, dont finalement la valeur marchande ne tient qu’à la signature d’un grand nom, et surtout à un marché dont les buts ne sont aucunement artistiques.
Jean Auguste Dominique Ingres (1780-1867) l’adversaire de Eugène Delacroix disait " le dessin est la probité de l’art". Il faut comprendre que le dessin, exact et précis, est une exigence et un préalable à tout art de la peinture. Il n’avait pas totalement raison, mais il n’avait pas non plus totalement tort.

Il ne faut pas exagérer les résistances à l’impressionnisme et surtout ne pas confondre, comme on le fait trop souvent, ces résistances avec la situation de l’art contemporain officiel qui s’est imposé dans les musées européens à partir des années 1950 et suivantes. A l’origine de l’impressionnisme sont des peintres populaires en rupture avec l’esthétique officielle prônée par l’Académie de peinture de Paris qui contrôlait notamment l’accès au Salon annuel. Cette résistance, et celle d’une certaine critique, a été tournée très vite avec les Salons des refusés, dès 1863, le dernier salon des refusés ayant eut lieu en 1886. En réalité la résistance des peintres de l’Académie a été brisée dès 1881. Les artistes impressionnistes français ont connu la célébrité de leur vivant et fait immédiatement école dans toute l’Europe. Aussi bien auprès des élites que des populations.
Absolument à l’opposé de l’impressionnisme à ses débuts, l’art contemporain est un art tout à fait officiel, faussement révolutionnaire, mais totalement académique, imposé par les élites idéologiques et politiques occidentales qui ont construit pour lui des musées particuliers conçus par les plus grands architectes du temps. La peinture contemporaine constitue effectivement un art en rupture totale avec l’art antérieur par sa consécration du laid et de l’absurde. Mais cette rupture n’a aucune origine populaire, c’est une "révolution" totalement organisée d’en haut par une poignée "d’éclairés" disposant du pouvoir, et de beaucoup d’argent. L’art contemporain a été dès son origine, aux Etats Unis entre les deux guerres, puis en Europe à partir de la seconde guerre mondiale un art au service des pouvoirs, et en rien un art populaire et résistant. Par contre ce sont les peuples qui ont déserté et continuent de déserter les salles d’art contemporain. Ce qui n’a jamais été le cas pour les impressionnistes. Manet a été célèbre dès le salon des Refusés de 1863.
Une comparaison entre la situation des impressionnistes avec celle des artistes de l’art des rues né dans le courant des années 1960, serait bien plus pertinente. Si on ne la fait pas, c’est une fois de plus la démonstration que l’art est un des hauts lieux de la manipulation idéologique et politique des peuples. Cela a été le cas en Europe de l’art catholique à l’époque médiévale, de l’art orthodoxe, des choix esthétiques des protestants, bien sûr de l’art baroque et classique, des arts communistes, nationaux-socialistes, et de l’art contemporain. La seule période où l’art européen a été multiforme et s’est inventé en dehors des idéologies et des cercles politiques au pouvoir c’est précisément la période de l’art moderne de 1850 à 1950. Parce qu’à cette époque il existait des idéologies concurrentes et qu’aucune ne disposait entièrement du pouvoir d’imposer l’art qui lui convenait. Et si notre époque connaît effectivement une peinture qui vit en dehors des cadres officiels, ou même en rupture avec eux, c’est dans l’art privé, l’art commercial et l’art des rues qu’il faut le chercher. Pas dans les collection permanentes des musées d’art contemporain.

THE IMPRESSIONIST RUPTURE

Some of Skagen’s painters were inspired by French impressionists and their trips to Paris were frequent.

The Impressionism was not easily accepted in France. The Impressionist techniques, the sketch and the tachism were contrary to previous habits. The sketch has always existed. It allowed to conclude a contract with sponsors. The sketch gave them an overview of the table, and how the painter was planning to address the issue. The sketch was necessary to have the right to appear at the Academy. But the sponsors demanded a finished work, the rigorous drawing, finished, accurate. We were not admitted to the Academy on a sketch.
The Impressionism was taking against the foot of this classic aesthetics by making the sketch and tachisme a system.
From a classical point of view an impressionist painting is not completed.
The Impressionists, systematized the Art of Blur.

Among the techniques developed during the 19th century, the sketch was one of the best expressions of the Art of Blur.
The Art of Blur has been practiced ingeniously by Leonardo da Vinci. The "Sfumato" is in the context of a very figurative and perfectly finished painting, like the Mona Lisa, the Virgin on the rock, or John the Baptist, a draft of art of blur..
The sketch was in the history of painting, a project, a preparatory study, which allowed the artist to ensure the coherence and balance of the finished table. In this case, usually, the blur is only an approximation, a preform, a draft, witnessed an incomplete art which needs to be completed.
But many artists, over the centuries, have understood perfectly that the sketch was sometimes, exceptionally, be a finished work.
That is to say a work, of which a large majority of spectators, experts or not, imperiously felt that NOTHING was to be added to it. This is not a mathematical definition, but this is the best.
The sketch is a finished work, only when it is creative, from a singular atmosphere, particularly suggestive, carrying a single poetry. When he appears, with evidence, that more precision in drawing, closes the doors to the imagination, of the mystery, and destroy a subtle balance between dream and reality.
The tto precise drawing can, in fact, close the doors to the imagination. While the blur, characteristic of the sketch, can open these doors. The photographers also know well: The blur can be simply fuzzy, but it can also be an invitation to feel a mystery and to participate in an enigma. The viewer is invited to furnish the blur proposed to him, through his imagination.
But it is an alchemy that only great artists have exceptionally found the secret.
The great master of this technique that the earliest, pushed him, foremost, was William Turner (1775-1851).
Delacroix was also a little after Turner, one of the major precursors of the art of the sketch and like him of Modern Art. For example in the "death of Sadarnapale" but also in many other paintings. But Delacroix is also an example of the limitations of this technique. All techniques meet, at one time or another, their limits.
The Art of the sketch is terribly difficult, because it is not enough to draw schematically a subject to make a beautiful work. It is not enough to draw and paint blur, or photographing blur, to create a work of art.
The Blur can only be an approximation, botched, whose market value stands only in the signature of a great name, and especially to a market, whose goals are in no way artistic.
Jean Auguste Dominique Ingres (1780-1867), the opponent of Eugène Delacroix, said: "Drawing is the probity of art". Understand that drawing, accurate and precise, is a requirement and a prerequisite for any art of painting. He was not totally right, but he was not completely wrong.

The resistance to Impressionism should not be exaggerated and, above all, it should not be confused, as is too often the case, with the situation of official contemporary art which has been imposed in European museums from the years 1950 and onwards. At the origin of Impressionism are popular painters who broke with the official aesthetics of the Paris Academy of Painting, which controlled access to the annual Salon. This resistance, and that of a certain criticism, was bypassed very quickly with the salons of the refused, since 1863, the last salon of the refused having taken place in 1886. In reality the resistance of the painters of the Academy was broken as soon as 1881. French impressionist artists were famous during their lifetime and immediately influenced all European painting. Among both elites and populations.
Absolutely the opposite of early Impressionism, contemporary art is an entirely official, falsely revolutionary, but totally academic art imposed by Western ideological and political elites who have built for them special museums designed by the greatest architects of the time. Contemporary painting is indeed an art in complete rupture with the prior art by its consecration of milk and absurd. But this break has no popular origin, it is a "revolution" totally organized from above by a handful of "enlightened" people with power and a lot of money. Contemporary art has been afterwards the beginning, in the United States between the two wars, then in Europe after the second world war an art in the service of the powers, and in no way a popular and resistant art. On the other hand, it is the peoples who have deserted and continue to desert the rooms of contemporary art. Which has never been the case for the Impressionists. Manet was famous at the Salon des Refusés of 1863.
A comparison between the situation of the impressionists and that of the artists of the street art, born in the course of the 1960s, would be much more relevant. If we do not do it, it is once again the demonstration that art is one of the high places of the ideological and political manipulation of peoples. This was the case in Europe of medievalCatholic art, Orthodox art, aesthetic choices of Protestants, of course Baroque and Classical art, Communist arts, National Socialist arts and of the contemporary art. The only period when European art has been multiform and invented outside the ideologies and political circles in power is precisely the period of modern art from 1850 to 1950. Because at that time there existed competing ideologies and none of them had the power to impose the art that she wanted. And if our time actually knows a painting that lives outside official frameworks, or even breaks with them, it is rather in private art, commercial art and street art that we must look for it. Not in the permanent collections of Contemporary Art museums.

IMG_5314N Dionis Baixeras. 1862-1943. Barcelone. Haciendo calceta. Knitting. Tricot.1888. Barcelone Museu Nacional d’Art de Catalunya (MNAC)
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Image by jean louis mazieres
Dionis Baixeras. 1862-1943. Barcelone. Haciendo calceta. Knitting. Tricot.1888.
Barcelone Museu Nacional d’Art de Catalunya (MNAC)

***** L’ESQUISSE ou L’ART DU FLOU

L’Art Moderne, annoncé bien avant le début du 20è siècle par les pré-impressionnistes, les impressionnistes et les post-impressionnistes, a été un facteur tout à fait remarquable de renouvellement des formes, dans la peinture européenne.
L’Art a toujours été, une manière de rêver le monde réel. Mais les nouvelles techniques de l’Art Moderne, s’éloignent toutes, de manière très intentionnelle, volontariste, de la représentation exacte du réel.
Les peintres tendent à créer un art dans lequel l’interprétation du réel l’emporte sur sa reproduction.
L’artiste moderne ne reproduit plus guère le réel, il le rêve, ou l’invente. Ces tendances ont abouti à l’art non figuratif, autrement appelé l’art abstrait.
Ce renouvellement des formes en peinture a apporté de nouvelles possibilités, très intéressantes, et très belles, d’expression artistique.
Parmi les techniques développées au cours du 19è siècle l’Esquisse a été une des meilleures expressions de l’Art du Flou.
L’Art du Flou a été pratiqué de manière géniale par Léonard de Vinci. Le "Sfumato" est, dans le cadre d’une peinture très figurative et parfaitement finie, comme la Joconde, les Vierges au rocher, ou Saint Jean Baptiste, une ébauche d’art du flou.
L’Esquisse a été dans l’histoire de la peinture un projet, une étude préparatoire, qui permettait à l’artiste de s’assurer de la cohérence et de l’équilibre de son tableau fini. Dans ce cas, le plus souvent, le flou n’est qu’une approximation, un brouillon, le témoin d’un art incomplet qui demande à être achevé.
Mais de nombreux artistes, au cours des siècles passés, ont parfaitement compris que l’esquisse pouvait, parfois, exceptionnellement, être une oeuvre achevée.
C’est à dire une oeuvre dont une grande majorité de spectateurs, experts ou non, ressentaient impérieusement que RIEN ne devait lui être ajoutée. Ce n’est pas une définition mathématique, mais c’est la meilleure.
L’esquisse n’est une oeuvre achevée que lorsqu’elle est créatrice d’une atmosphère singulière, particulièrement suggestive, porteuse d’une poésie qui lui est propre, unique. Quand il apparaît de manière évidente que plus de précision dans le dessin fermerait les portes à l’imaginaire, au mystère, et détruirait un équilibre subtile entre le rêve et la réalité.
Le dessin trop précis peut en effet fermer les portes à l’imaginaire, alors que le flou qui caractérise l’esquisse peut les ouvrir. Les photographes le savent bien aussi : Le flou peut être simplement flou, mais il peut aussi être une invitation à ressentir un mystère et à participer à une énigme. Le spectateur est invité à meubler par son imagination le flou qui lui est proposé.
Mais c’est une alchimie dont seuls les grands artistes, peuvent, exceptionnellement, pénétrer le secret.
Le grand maître de cette technique, et celui qui, le plus précocement, l’a poussé le plus loin, a été sans doute William Turner (1775-1851).
Delacroix a été aussi, un peu après Turner, un des grands précurseurs de l’art de l’esquisse. Par exemple dans la "mort de Sadarnapale" mais aussi dans bien d’autres tableaux. Mais Delacroix est aussi un exemple des limites de cette technique. Toutes les techniques rencontrent, à un moment ou à un autre, leurs limites.
L’Art de l’esquisse est redoutablement difficile, car il ne suffit pas de dessiner schématiquement un sujet pour faire une belle oeuvre. De même qu’en photographie de nos jours, il ne suffit pas de dessiner et de peindre flou pour créer une oeuvre d’art.
Le flou peut n’être qu’une esquisse ou une approximation, dont finalement la valeur marchande ne tient qu’à la signature d’un grand nom.
Il est vrai que l’esquisse peut dégager une certaine puissance expressive, avoir une puissance évocatrice, une poésie de l’inachevé. Une force expressive que le tableau, bien fini, bien dessiné et bien peint, achevé, peut effectivement perdre. Mais la magie poétique de l’art du flou ne peut pas être systématique.
Le flou, c’est aussi beaucoup une question de mode. Une habitude du regard. Une culture.
L’esthétique de notre époque est un peu trop focalisée sur l’esquisse.
On finit par ne plus voir que des esquisses dans les galeries de peintures modernes ou contemporaines.
En réalité les artistes ne sont pas les seuls responsables de cette situation. Au 19è siècle la société occidentale est entrée dans une culture qui fait de la réussite, matérielle, économique, et de l’Argent ses valeurs principales. Dès lors des esquisses, qui ne seraient pas sorties des brouillons personnels de l’artiste, pendant les siècles précédents, sont devenues de marchandises sources de profits. Ces marchandises, se trouvent même dans les musées. Picasso avait très bien compris ce mécanisme économique.
Bien sûr cette évolution est habillée de Grands Principes : Il n’est pas question d’Argent, mais de l’Artiste, de la Liberté de Création, du Progrès des Arts, d’une "sensibilité nouvelle", de "vivre avec son temps" etc…
Cette omniprésence de l’esquisse reflète non seulement des habitudes du regard mais des valeurs éthiques. L’Art du Flou est devenu aussi l’Art de faire, vite, de l’Argent.
Valeurs morales positives ou négatives. Nous vivons dans un monde un peu trop pressé !! Pour aller où ?

THE SKETCH OR THE ART OF BLUR

Modern Art, announced well before the beginning of the 20th century by the pré-impressionnists, impressionists and post-impressionists, was a factor quite remarkable renewal forms in European painting.
Art has always been a way to dream the real world. But the new techniques of modern art, are moving away all so very intentional, deliberate, of the exact representation of reality.
The painters tend to create an art in which the interpretation of reality trumps its reproduction.
The modern artist is hardly reproduces reality, it’s dream or invent. These trends have resulted in non-figurative art, also called abstract art.
This renewal forms in painting is total. He brought new possibilities of artistic expression.
Among the techniques developed during the 19th century, the sketch was one of the best expressions of the Art of Blur.
The Art of Blur has been practiced ingeniously by Leonardo da Vinci. The "Sfumato" is in the context of a very figurative and perfectly finished painting, like the Mona Lisa, the Virgin on the rock, or John the Baptist, a draft of art of blur..
The sketch was in the history of painting, a project, a preparatory study, which allowed the artist to ensure the coherence and balance of the finished table. In this case, usually, the blur is only an approximation, a preform, a draft, witnessed an incomplete art which needs to be completed.
But many artists, over the centuries, have understood perfectly that the sketch was sometimes, exceptionally, be a finished work.
That is to say a work, of which a large majority of spectators, experts or not, imperiously felt that NOTHING was to be added to it. This is not a mathematical definition, but this is the best.
The sketch is a finished work, only when it is creative, from a singular atmosphere, particularly suggestive, carrying a single poetry. When he appears, with evidence, that more precision in drawing, closes the doors to the imagination, of the mystery, and destroy a subtle balance between dream and reality.
The tto precise drawing can, in fact, close the doors to the imagination. While the blur, characteristic of the sketch, can open these doors. The photographers also know well: The blur can be simply fuzzy, but it can also be an invitation to feel a mystery and to participate in an enigma. The viewer is invited to furnish the blur proposed to him, through his imagination.
But it is an alchemy that only great artists have exceptionally found the secret.
The great master of this technique that the earliest, pushed him, foremost, was William Turner (1775-1851).
Delacroix was also a little after Turner, one of the major precursors of the art of the sketch. For example in the "death of Sadarnapale" but also in many other paintings. But Delacroix is also an example of the limitations of this technique. All techniques meet, at one time or another, their limits.
The Art of the sketch is terribly difficult, because it is not enough to draw schematically a subject to make a beautiful work. It is not enough to draw and paint blur, or photographing blur, to create a work of art.
The blur can be only a sketch or an approximation, which ultimately market value is up to the signing of a big name.
It is true that the sketch can release a certain expressive power, have an evocative power, a poetry of unfinished. An expressive force that the painting, well finished, well designed and well painted, completed, can actually lose. But the poetic magic of Blur Art cannot be systematic.
It is also very much a question of fashion. A habit of look. A culture.
The aesthetics of our time is a little too focused on the sketch.
We finally see only sketches in the galleries of modern and contemporary paintings.
In fact the artists are not the solely responsibles, for this situation. In the 19th century Western society has entered a culture that makes of the success, physical, material, economic, and of money, its main values. Therefore the sketches, which would not come out of personal drafts of the artist, in previous centuries, have become merchandises, and sources of profits. These goods are found even in museums. Picasso understood very well, what economic mechanism.
Of course this evolution is dressed in Great Principles: There is no question of Money, but of the Artist, of the Freedom of Creation,of the Progress of the Arts, of a "new sensibility", "to live with her time "etc …
This omnipresence of the sketch reflects not only the look but the habits of ethical values.
positive or negative moral values. The Art of the blur has also become the Art to do, quickly, of the money.
We live in a world too pressed !! To go where ?

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Web Marketing That Works: Confessions from the Marketing Trenches

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Check out these online business images:

Image from page 561 of “Polk’s Indianapolis (Marion County, Ind.) city directory, 1878” (1878)
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Identifier: polksind00unse
Title: Polk’s Indianapolis (Marion County, Ind.) city directory, 1878
Year: 1878 (1870s)
Authors:
Subjects: Indianapolis, Ind. Business enterprises Residential streets Official residences People Government facilities Churches Schools Streets Cities
Publisher: R.L. Polk
Contributing Library: Indianapolis City Directory Collection
Digitizing Sponsor: LYRASIS Members and Sloan Foundation

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Text Appearing Before Image:
bash Fast Line for Fort Wayne,Toledo, Cleveland and all places in Michigan, the Canadas,New York and the New England States; makes close con-nection at Union Depot, Toledo, with the CANADA SOUTH-ERN RAILWAY for Detroit, Buffalo and all Eastern points.Also connects with I. C. & L. R. R. at Lafayette, and with I.B. & W. Ry at Danville for Decatur, Springfield, Hannibal,Quincy, Keokuk, St Louis and all Western and Southwesternpoints, enabling passengers who travel by the WABASH FAST LINE 59 To reach the principal cities in the East and West manyhours in advance of other lines. All Express Trains of this Line are fully equipped with Pullmans Palace Sleeping Cars, Westinghouses Lately Improved Air- Brake, and Millers Platform and Coupler rendering a serious accident almost an impossibility. R. ANDREWS, H. C. TOWNSEND. General Superintendent. Genl Pass, and Ticket Agent. 564 CANADA SOUTHERN IR/.^IXjW.A-^- LIZZIE. The Only American Route Through Canada NO CURVES! NO GRADES! AIR LINE.

Text Appearing After Image:
The Shortest, Quickest and Most Direct Route BETWEEN THE EAST AND WEST! THROUGH SLEEPING AND DINING ROOM CARS WITHOUT CHANGE, BETWEEN Toledo, New York and Boston. Direct connection made at Union Depot, Toledo, with the Wabash Ry to and from Indianapolis and the West and Southwest; also connects at Buffalo and Niagara Falls with the ERIE and other lines for New York and the East. The CANADA SOUTHERN is fully equipped with all modernappliances for the Comfort and Safety of its patrons, and its rapidlyincreasing business is evidence that the efforts of its managers arefully appreciated by the traveling public. TICKETS FOR SALE AT ALL OFFICES OF CONNECTING LINES.W. K. MUIR, FRANK E. SNOW. General Manager. Genl Passenger and Ticket Agent, Detroit. 565 ——wmm l l 11 i ? i ————— THIS MOST PICTURESQUE SCENERY IN AMERICA IS FOUND ON THE LINE OP THE ERIE RAILWAY

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Image from page 61 of “Polk’s real estate register and directory of the United States and Canada” (1911)
online business
Image by Internet Archive Book Images
Identifier: polksrealestater00unse
Title: Polk’s real estate register and directory of the United States and Canada
Year: 1911 (1910s)
Authors:
Subjects: Real estate business
Publisher: Detroit, Mich. : R.L. Polk & Co.
Contributing Library: Allen County Public Library Genealogy Center
Digitizing Sponsor: Internet Archive

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Text Appearing Before Image:
ALTY CO (see adv) Miller K J (Flathead Co) Columbia Falls Columbus Land & Water Co (Yel-lowstone Co) Columbus McNally Frank Norton Wm H Raiff & Thayer Allen Mrs Carrie M (Park Co) CookeBreugger J Z (Valley Co) CulbertsonCoulter & Miller Courchene Thomas CulbertsonLunke R ONugent J G Bolles H A (Musselshell Co) CushmanProctor C E (Flathead Co) DaytonCOCKRELL MONCURE (PowellCo) (see adv) Deer Lodge Moncure Cockrell FARMS, CITY PROPERTY Will attend to Real Estate matterB anyplace inMontana. References: U.S. Nat. Bank, Deer Lodge; Ander-son, Spencer, Bankers, White Sulphur Springs DEER LODGE, – MONT. Hoss Fred Deer Lodge SHARNIKOW & PAUL Wilson S P Bishop J F (Beaverhead Co) DillonJohnson ASPrice L JSmith P I Baker A D (Flathead Co) EurekaLindsey & BradburnMeadows J P (Dawson Co) FairviewNewlon L E DOWLIN-SQUIER LOAN & IN-VESTMENT CO (Rosebud Co)(see adv) Forsyth HORKAN & BEEMAN (see adv) Rosebud Abstract Co Rosebud Land & Improvement Co mUS IS OSS © 4>

Text Appearing After Image:
Medical Register and DirectoryDental Register Real Estate and Financial RegisteiLumber DirectoryGazetteers of 22 States and Territories POLK & CO., DETROIT, MICH. AW AND OANS, MOOPES & STILLMAN: CARRINGTON NORTH DAKOTA [SEE ADV. IN REAL EST AYE DEALERS. NORTH DAKOTA] The Casey Land CompanyCheapest Corn Lands in the United States Montana UNITED STATES AND CANADA (1911) Montana 1069 WAKEFIELD & BLAND (seeadv) Forsyth Clark Fork Land & inv Co (Car-bon Co) Fromberg Vanden Heuvel Joseph (CascadeCo) Geyser Burke G F (Valley Co) Glasgow Rundle S J Dawson County Land Co (DawsonCo) Glendive HILL I N CO (see adv,) LEONARD E C (see adv) Miller & Jordan Montana Land Co PHILLIPS A H (see top marginMontana Map) Rasmusen C A Yellowstone Abstract & Realty Co Yellowstone Valley Land Co Agnew J W (Cascade Co) Great Falls Boston & Great Falls Land Co BOYLE LAND CO BUNDY D W LAND CO (seeadv) Burchard C A CAMPBELL C H & SON, Refer-ence First Natl Bank, Estab-lished 21 Years

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Digital Marketers Sound Off: Tips, Tactics, Tools, and Predictions from 101 Digital Marketing Specialists

Digital Marketers Sound Off: Tips, Tactics, Tools, and Predictions from 101 Digital Marketing Specialists

In Digital Marketers Sound Off, you’ll find 101 accomplished digital marketing specialists sharing their favorite tools, tips, tactics, and predictions for the future. 

This easy-to-follow book contains digital marketing insights spanning many specializations: Search Engine Optimization, Google AdWords, Facebook Ads, PR, Email Marketing, Content Marketing, Social Media Marketing, and Affiliate Marketing.

Digital Marketers Sound Off features digital marketing wisdom from

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MKTG (with MKTG Online, 1 term (6 months) Printed Access Card) (New, Engaging Titles from 4LTR Press)

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Learn your Principles of Marketing Course YOUR Way with MKTG! MKTG’s easy-reference, paperback textbook presents course content through visually-engaging chapters as well as Chapter Review Cards that consolidate the best review material into a ready-made study tool. With the textbook or on its own, MKTG Online allows easy exploration of MKTG anywhere, anytime – including on your device! Collect your notes and create StudyBits™ from interactive content as you go to remember what’s important. Th

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Some cool online business images:

Image from page 44 of “Polk’s real estate register and directory of the United States and Canada” (1911)
online business
Image by Internet Archive Book Images
Identifier: polksrealestater00unse
Title: Polk’s real estate register and directory of the United States and Canada
Year: 1911 (1910s)
Authors:
Subjects: Real estate business
Publisher: Detroit, Mich. : R.L. Polk & Co.
Contributing Library: Allen County Public Library Genealogy Center
Digitizing Sponsor: Internet Archive

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About This Book: Catalog Entry
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Text Appearing Before Image:
Improved and Unimproved City Property and Farm Lands. Irrigated and Non-IrrigatedLands. Ranch Lands in Any Sized Tracts. Resident of Cascade County 27 years. Member Real Estate Exchange.Reference: Any Bank in Great Falls. Conrad Block, Room 21, Great Ralls, Mont, 1050 (1911) POLKS REAL ESTATE REGISTER LARKI TRANSACT your Real EstateBusiness withL A R K I NHis address is T. H. LARKIN 1 4- Second St. NorthGreat Falls, Montana REALTY J. H. CORCORAN, Pres. and Treas. C. A. COLEMAN, Vice-Pres. and Secy.Bell4-4-7-K. Auto. 8393 Montana Land Agency Homesteads, Deeded Lands, RelinquishmentsCity Real Estate, Timber ClaimsLoans and Insurance 216 Central Ave. (Over Mint Cafe) GREAT FALLS, MONTANA UNITED STATES AND CANADA (1911) 1061 Little Tracts and Big Tracts/ 40 Acres to 10,000 Acres J. P, TRAINOR FARMING LANDSand CITY PROPERTY Offices First National Bank Building-GREAT FALLS, , * MONTANA

Text Appearing After Image:
Medical Register and DirectoryDental Register Real Estate and Financial Registei Lumber Directory Gazetteers of 22 States and Territories POLK St CO., DETROIT, MICH. 1052 (1911) POLKS REAL, ESTATE REGISTER Central Montana Land Co, H. A. SPEED, ManagerREAL, ESTATE, LOANS, INSURANCE 506 MAIN STREET. Telephone 483. LEWISTOWN, MONTANA Come to the JudithBasin, where wheatgoes from 30 to 65Bushels and failuresare unknown.Come to Lewis-town, Mont, thecenter of the famousJudith Basin,where everybodyis busy and theCity is growing byleaps and bounds.Come to the Cen-tral MontanaLand Co the bus-iness hub of Lewis-t o w n and theJudith Basin andwhere you can getthe best bargainsin Ranch and CityProperty, and doso at once, Tele-graph time ofarrival and we willmeet you with anauto showing youaround.

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A few nice market analysis images I found:

Image from page 170 of “Picturesque America; or, The land we live in. A delineation by pen and pencil of the mountains, rivers, lakes, forests, water-falls, shores, cañons, valleys, cities, and other picturesque features of our country” (1872)
market analysis
Image by Internet Archive Book Images
Identifier: picturesqueameri01brya
Title: Picturesque America; or, The land we live in. A delineation by pen and pencil of the mountains, rivers, lakes, forests, water-falls, shores, cañons, valleys, cities, and other picturesque features of our country
Year: 1872 (1870s)
Authors: Bryant, William Cullen, 1794-1878, editor Bunce, Oliver Bell, 1828-1890
Subjects:
Publisher: New York, D. Appleton
Contributing Library: University Library, University of North Carolina at Chapel Hill
Digitizing Sponsor: University of North Carolina at Chapel Hill

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invariably perishes. The locality atthis point is strangely beautiful, and it is not a matter of wonder that the Warm Springsin the immediate neighborhood should be the summer resort of hundreds who seekhealth and the keen enjoyment which Nature here contributes to every sense. These springs are among the natural curiosities of the Atlantic States; and in theircurative properties, especially when employed in rheumatic and cutaneous affections, theyare said to rival the famous Hot Springs of Arkansas. The temperature of the watervaries from eighty to one hundred and ten degrees, the location of the various outletsapparently determining its grade. Analysis has demonstrated that it gives off free sul-phuretted hydrogen and carbonic acid, and holds in solution carbonate and sulphate oflime, with a trace of magnesia. Baths of various kinds are arranged for the con-venience of the visitors; and the fare, the trout-fishing, and hunting, are all that canbe desired at a country watering-place.

Text Appearing After Image:
OLD MILL.-REEMSS CREEK. 144 PICTURESQUE AMERICA. The artist has graphically portrayed, in an accompanying picture, one of the manystriking scenes upon the French Broad—a farm on a hill-side. The mountain lifts itslofty peak to mingle with the clouds; and its rough escarpment, taking new expressionfrom every point of view, overhangs the famous Buncombe Turnpike, which winds alongthe base, skirting the rivers edge. This road was built by the State, about forty yearsago, and is the great route for hogs and cattle driven from East Tennessee to thecotton-growing section of South Carolina. Originally, it was the old Indian trail. Pre-vious to i860, as many as sixty thousand head would pass over this route during thewinter; and these animals, with their human tenders, made a market for the surplusproduce of the hill-sides. Still, as may be imagined from the sketch, farming under suchcircumstances is rather a precarious business; for, notwithstanding the fact that the soilis astonishingly r

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City of Angels original film
market analysis
Image by austinevan
Wim Wenders’ 1987 German film Wings of Desire (Der Himmel über Berlin) which was re-made for the U.S. market in 1998 and called "City of Angels". It was a very close re-make and followed the plot and scenes for the most part. The German original is more moody and dark (helped by the black&white format). There are many more "vignettes" present in the German original as well which help build the 3 main characters.

One can’t help make comparisons and analysis based on the political events taking place in Berlin at the time the movie is being made.

Peter Falk, who plays himself, makes a cameo in this film as an "ex" angel.

PREDICTIONS buzzword for 2007 will be amplification
market analysis
Image by lynetter
In 2006 the "long tail" concept seemed to pop up at every turn. In 2007 we think a similar buzz will be felt in marketing circles around the concept of Amplification.

In a nutshell, amplification is about tapping into the power of word of mouth. Tell your story – or parts thereof – in an inspirational way to a select few, and then leave it to them to flesh the experience out and share it with a broader audience. In today’s digital world, not only are there more ways for such conversations to be sparked, the conversations are everlasting, living online and accessible via search.

The most interesting stories are already getting into the mass media through natural selection – you only have to think of the mass media picking up on shocking and news-worthy videos on YouTube – and user generated content’s influence on the news agenda will rise.

POINTS FOR MARKETERS:

**** Monitoring the online buzz about your products – and those of your competitors – is like radar for airplanes (to paraphrase CMO of Nielsen Buzzmetrics). You can fly without it, but it’s kinda stupid not to take advantage of the advance warning it provides. There are a myriad of different solutions out there to suit all budgets, and varying depending on the level of analysis you want. In 2007 any brand serious about building relationships with its consumers should invest in listening to what they say. Consumers are already talking about brands online – brands need to know what is being said and how to react to both positives and negatives.

**** Don’t underestimate your audience. Sometimes spoon-feeding the entire story won’t get you as far as leaving blanks for others to fill in and figure out… As was recently pointed out by Henry Jenkins (author of Convergence Culture): "The key is to produce something that both pulls people together and gives them something to do. In that regard, the book may have had greater impact on the discussions of branding because I didn’t fill in all of the links … leaving the blogosphere something to puzzle through together.”

**** Interesting stunts and events get blogged, and can achieve far greater audience through this amplification than would have been possible before. Create showcases around brands (like the ‘Will it Blend? films for Blendtec), but by the same token bad news will spread even faster.

____________________________________________
This is part of a series of predictions for 2007 developments, prepared jointly with my colleague, Dan Calladine, for Isobar Global. Opinions are ours personally and do not necessarily reflect the viewpoint of the Isobar group.

Kudos to Sarah Fay for first mentioning the buzziness around “Amplification” to me
Image CC www.flickr.com/photos/fredarmitage/48405833/ thanks to Fred Armitage

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Vertical Coordination of Marketing Systems: Lessons From the Poultry, Egg and Pork Industries

Vertical Coordination of Marketing Systems: Lessons From the Poultry, Egg and Pork Industries

The report examines the role of contracts and vertical integration in reducing transaction costs. The report further explores benefits from new methods of vertical coordination and the implications for future research.

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