Move Over, 'American Idol': Walmart's the Next Reality Giant

Having dabbled in everything from financial services to video streaming, Walmart Stores is now trying its hand at producing a reality show -- turning the intense competition to get products on its shelves into an online contest with videos and voting.
The retailer's @WalmartLabs e-commerce and social-media R&D unit is today formally launching a "Get on the Shelf" program, inviting companies small and large to submit product ideas along with supporting videos. Consumers will vote on which products they'd like to see make it to Walmart .com or their local Walmart store. The top three vote-getters will be sold on Walmart .com, and a grand prize winner will be featured on the home page for its 50 million monthly unique visitors and in select Walmart stores.
That Walmart is launching the program the day "American Idol" begins its 2012 season is just a happy coincidence, a spokeswoman said. Thanks to a soft launch to work out kinks, and publicity that included mentions on Walmart 's blogs for New York City and Washington, the marketers behind some 60 products are singing for their supper at the website GetontheShelf.com.

This Is Generation Flux: Meet The Pioneers Of The New (And Chaotic) Frontier Of Business

Now we know that what we saw in the 1990s was not a mirage. It was instead a shadow, a premonition of a new business reality that is emerging every day--and this time, perhaps chastened by that first go-round, we're prepared to admit that we don't fully understand it. This new economy currently revolves around social and mobile, but those may be only the latest manifestations of a global, connected world careening ahead at great velocity.
Some pundits deride the current era as just another bubble. They point out that new, heady tech companies are garnering massive valuations: Facebook, Groupon, LinkedIn. And beyond the alpha dogs, the list of startups with valuations above $200 million is long indeed: Airbnb, Dropbox, Flipboard, Foursquare, Gilt Groupe, Living Social, Rovio, Spotify--the roster goes on and on.
Setting aside the fact that the majority of these enterprises, unlike the darlings of the late-1990s, have significant revenue, so what if some companies are overvalued? That still doesn't discount the way mobile, social, and other breakthroughs are changing our way of life, not just in America but around the globe. And in the process, these changes are remaking geopolitical and business assumptions that have been in place for decades. This was not true in 2000. But it is now. Chaotic disruption is rampant, not simply from the likes of Apple, Facebook, and Google. No one predicted that General Motors would go bankrupt--and come back from the abyss with greater momentum than Toyota. No one in the car-rental industry foresaw the popularity of auto-sharing Zipcar--and Zipcar didn't foresee the rise of outfits like Uber and RelayRides, which are already trying to steal its market. Digital competition destroyed bookseller Borders, and yet the big, stodgy music labels--seemingly the ground zero for digital disruption--defy predictions of their demise. Walmart has given up trying to turn itself into a bank, but before retail bankers breathe a sigh of relief, they ought to look over their shoulders at Square and other mobile-wallet initiatives. Amid a reeling real-estate market, new players like Trulia and Zillow are gobbling up customers. Even the law business is under siege from companies like LegalZoom, an online DIY document service. "All these industries are being revolutionized," observes Pete Cashmore, the 26-year-old founder of social-news site Mashable, which has exploded overnight to reach more than 20 million users a month. "It's come to technology first, but it will reach every industry. You're going to have businesses rise and fall faster than ever."

2012 Edition: 15 Marketing and Business Trends That Matter

Let me tell you a little secret.  I look forward to putting together an annual trend report the same way that some people look forward to having Turkey for Thanksgiving dinner. I realize that may sound a bit strange, but ever since I did my first trend recap last year I was hooked.  This year, the process of collecting the trends took all year.  I have a folder on my desk labelled "Trends 2012" and throughout the year I would rip out articles from magazines or printout webpages to save. Last November I started actually writing my trend presentation and finally released it on Slideshare yesterday. 

OUR GOOGLE+ CONUNDRUM

But if that’s how the world of Google works now, that means it’s very important that you tend your Google+ pages, so that you rank well in Google search. Google has pretty much gamed its own search engine to insure Google+ will succeed.
This is what happens when you tell your entire staff that your salary depends on winning in social. 
Now, this presents us all a conundrum. If a large percentage of people are logged into Google and/or Google+ when they are searching for stuff, that means Google+ pages are going to rank well for those people. Hence, I really have no choice but to play Google’s game, and tend to my Google+ page, be I a brand, a person, a small business…. are you getting the picture here? If you decide to NOT play on Google+, you will, in essence, be devalued in Google search, at least for the percentage of people who are logged in whilst using Google.
I dunno. This strikes me as wrong. I’ve spent nearly ten years building this site, Searchblog, and it has tens of thousands of inbound links, six thousand posts, nearly 30,000 comments, etc., etc. But if you are logged into Google+ and search for me, you’re going to get my Google+ profile first.
Seems a bit off. Seems like Google is taking the first click away from me and directing it to a Google service.
Now, if I decide to protest this, and delete my Google+ account, I better pray no one else named John Battelle creates a Google+ account, or they will rank ahead of me. And while Battelle is a pretty unique name, there are actually quite a few of us out there. Imagine if my name was John Kelly? Or Joe Smith?
Yikes. Quite a conundrum.

Cadillac Turns To A 28-Year-Old To Reinvent The "Standard Of The World"

Cadillac has always been selling that ideal. An immigrant knows it resonates.
Partalo majored in marketing at the University of Minnesota, after realizing that cultural studies and comparative lit--with a focus on the portrayal of death and dying--wasn't the right long-term play.
At Fallon, she is a planner, a data wonk. It is her job to learn what kind of person might buy an amped-up CTS-V, or care that it includes Magnetic Ride Control suspension and 19-inch wheels. To her, the buyer, not the seller, determines the narrative. It is the buyer who wants ads that reinforce his essential rightness. She only figures out who he is and what he wants to be, then shows him a spot with a Cadillac besting a Ferrari on a windy racetrack.
"It took us a while to get to this," Partalo says. "I needed to know what makes a man choose Cadillac over BMW or Lexus. So I traveled to nice restaurants around Chicago, Detroit, L.A., and New York. I interviewed the valets, those pimply 18-year-olds. What makes car owners different? They dress and tip the same. It's in how they react when the valet scratches their car. I heard consistent stories: Lexus owners don't say anything and immediately call the police and insurance company. BMW owners scream at him--'I'll have your job!' That sort of thing. But Cadillac owners pat him on the back, say, 'It's gonna be all right, kid; we'll figure it out,' and then tip him anyway and drive off."

Online-Only Originals Are Entering a Virtuous Cycle

Just last week, in "Hollywood's A-Listers Embrace Online Video, Upending the Status Quo," I noted all the various factors that are contributing to top industry talent now pursuing online-only projects. But as I've had a chance to digest last week's CES announcements, plus Hulu's news yesterday that it too is planning an aggressive originals strategy in 2012, I think it's quite likely that online-only originals are entering a "virtuous cycle." Key elements for online-only originals' success are falling into place and are poised to build on each other, combining to dramatically accelerate the growth and acceptance of this emerging class of programming.  
Those elements include: the increasing quality of the programming itself, driven by established talent; well-funded OTT distributors/producers like Netflix, YouTube, Yahoo, AOL, Hulu and others all with significant revenues and large audiences to promote to; a proliferation of connected and mobile devices that offer a user experience comparable to or better than traditional TV; robust subscription-based and ad-supported business models, the latter driven by brands' interest and sophisticated online video ad technologies; a foundation of massive online video viewership that continually educates users; well-developed discovery and social media tools to drive program launches and buzz; and finally, disillusionment with incumbent pay-TV pricing and packaging which creates interest in more economical, flexible alternatives.
It's important to note that all of these things are happening simultaneously, rather than just one or two attempting to be the locomotive, dragging along all of the others. That's the hallmark of a virtuous cycle: multiple streams of momentum feeding off of each other to make the overall velocity even greater. Virtuous cycles are powerful and quite rare. VideoNuze readers will recall that the last time I noted the onset of a virtuous cycle was for Netflix, as it accelerated its streaming efforts, in February 2010. The company went on to add nearly 13 million subscribers in the following 6 quarters, until its own poor decision-making put an end to its run.

YouTube's Content Head Kyncl at CES: The Niches Rule

But launching a channel is just a first step; the real challenge of course is getting found. For every Michelle Phan with nearly 2 million subscribers, there are hundreds of content creators struggling to build audience. And this is where YouTube's unparalleled scale is so significant for its niches initiative. With 800 million monthly viewers of 3 billion plus videos, YouTube has enormous promotional leverage to give its content partners visibility. That reach is combined with technology to track and understand each viewer's interests, so that only targeted, relevant content is surfaced. For top-drawer Hollywood talent like CSI creator Anthony Zuiker (on the subsequent panel), who's used to broadcast TV's reach, and is now a YouTube partner, YouTube's scale and targetability are huge differentiators. 
In his remarks, Kyncl cited lots of data supporting YouTube's scale, as well as other online video players like Netflix, Hulu and CBS, repeatedly using terms like "incredible," "amazing," "unbelievable" and "magical" to underscore the gigantic wave everyone in the online video is currently riding. While YouTube's growth has indeed been astounding, it has also been mostly organic, fed by user-generated content and sharing. 
What's changed now is that YouTube is starting to act like a market leader, exerting its influence on the future direction of the video industry. In my view, YouTube's role is as "strategic catalyst," providing necessary financial and promotional support for a new generation of niche content creators. But content isn't YouTube's only focus; it is being equally aggressive in innovating in advertising, promoting "TrueView," a cost-per-view or engagement model that greatly differs from the TV industry's traditional impressions-based approach. 
Add it all up and throw in Google, the biggest sugar-daddy on the planet, plus the proliferation of connected devices, and YouTube is poised to be an extremely important player in the video industry going forward. Its niche-oriented playbook is just starting to be understood, and it must be watched closely.

Yahoo to Launch Original Comedy Channel With Bill Maher Stand-Up Performance

Yahoo said Thursday it would launch the Yahoo Comedy Channel with a slate of original comedy video content featuring such comedians as Mike O’Brien, writer on Saturday Night Live, and Seth Morris (No Strings Attached, Step Brothers) in the company’s latest sign of commitment to the premium content space.
The channel will launch with a Bill Maher stand-up performance entitled CrazyStupidPolitics: Bill Maher Live from Silicon Valley, available exclusively on Yahoo. The performance, which the firm said will be the first-ever, live, free broadcast online, will take place on Feb. 23, 2012 at the San Jose Performing Arts Center.
The comedy news comes off the heels of Yahoo’s launch of a women-focused programming slate, which had nearly 10 million streams in its first month. Yahoo, which has been exploring its options, said it is the top destination online for comedy with 1 billion streams of its original programming to-date.
“Bill Maher’s special is a groundbreaking event, not only for Yahoo and Bill but for the Internet as the first-ever, live, free broadcast online,” said Erin McPherson, vp & head of Video at Yahoo. We are focusing on fresh, original voices like Bill and our other original programs with the Yahoo! Comedy Channel to continue to provide our consumers and advertisers with the best premium content on the Web.”

YouTube spends $100 million to redefine TV

Williams is betting most of his personal savings and free time that two things will make him a next-generation media titan: hard work and YouTube.
That bet goes both ways. Beginning this month, YouTube is gambling $100 million that by seeding professional production firms such as Young Hollywood — whose slate of YouTube-only programming premieres Monday — it will draw more eyeballs for longer viewing sessions.
Williams calls the online video giant's move a "game-changer" and argues that the growing number of stars who sit on his white sofa — Cruz came to see Williams straight from Jay Leno's Tonight Show couch — spotlights the emerging clout of Web-only shows.
"A few old-school publicists still don't embrace us," says Williams, who chose the Four Seasons because many stars call it home during publicity tours. "But the younger reps and celebs sure do."
YouTube executives hope gossip-hungry viewers weaned on E! and Access Hollywood give Williams' shows a shot. To help ensure that, the company recently redesigned its site to emphasize a new channel-centric look that can be customized by users.

Break Media and Sony Team Up to Make Advertising Agencies Nervous

If you watched the season finale of Jersey Shore carefully, you saw many concerning things, including Deena Cortese's take on Michelangelo's "David."
But if you work in advertising -- particularly a creative agency, the kind paid millions to produce 30-second spots during shows like "Jersey Shore" -- you saw something even more disturbing: a 30-second ad simply cut down from a longer web video created by Break Media for Sony Network Entertainment.
Sony liked the original, longer piece of web video, which portrays the hazards of running out of "skips" on your music subscription service, and asked Break for a 30-second cut. But it didn't say it was going to swap it in as a TV spot during the finale of "Jersey Shore," seen by an average of 6.6 million viewers a few weeks ago, and save itself at least a couple hundred grand in agency fees in the process.
What did Break charge for the spot? Nothing beyond its fee for creating the original video.