Archive for January 9th, 2009

Go green … or your employer may tax you.

January 9, 2009

Excerpted from Business Week,”Steering Workers Into the Green Lane”, Oct 27, 2008

Employers are getting more eco-car conscious. And not just new-guard and crunchy-granola companies like Google, Ben & Jerry’s, and Timberland.

Health-care company Abbott Laboratories, which provides its sales staff with some 6,000 vehicles, is revamping its mileage-­reimbursement rules as part of a bid to make its fleet more carbon neutral.

Now, all sales reps reimburse Abbott for personal use of company cars at 17.3¢ a mile. But starting in January 2009, those choosing SUVs instead of sedans will pay 72.3¢.

The new “tax” appears to be working. With 75% of orders in for about 2,000 new vehicles, 48% of reps are requesting sedans, vs. 25% for 2008. SUV orders are at 29%, down from 44%. Hybrids? At 18%, up from 6%.

Full article:
http://images.businessweek.com/ss/08/10/1016_btw/6.htm

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Audi on the Big Screen … a (relatively) cheap way to promote

January 9, 2009

Excerpted from BusinessWeek, “Audi: Putting Its Models in Movie Roles”, by Ron Grover, November 27, 2008

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These are rough times for car companies.  So what’s a car company to do? Hit the movies, that’s what. 

The hot car in Hollywood, these days, is an Audi. In the past few years, it’s hard to go to your local multiplex without seeing that four-ring insignia staring back at you. In this spring’s blockbuster Iron Man, the carmaker had three vehicles in starring roles, including the superhot Audi R8 speedster. And when the action film Transporter 3 opens on Nov. 26, car chase fans will get to see a nearly two-hour commercial for the Audi luxury sedan A8 as it outruns police, outmaneuvers a truck by riding on two wheels, and flies through the air to land on a speeding train—all without so much as losing a hubcap.

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Product placement isn’t exactly new in Hollywood, but you have to hand it to the automaker, which has gone into overdrive to go gear-shift to gear-shift with better-known brands that for years have hogged much of the screen time. Audi has done its best to crash just about every awards party in town. They have a fleet of sleek cars at the ready to lend to stars and directors.

It’s all part of the Audi plan to target mega-events, especially as traditional media splinters and audiences dissipate. Earlier this year, the carmaker spent the requisite $2.7 million for a Godfather-spoofing Super Bowl spot, which shows a man waking up in his bed to find the sawed-off grille of a rival luxury car—and ends with the apparent perpetrator speeding off in an R8.

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Rumors have always abounded that companies pay hefty sums to get their cell phones, soft drinks, computers, and cars onto the screen. As for money changing hands, Audi steadfastly denies it pays for script time but acknowledges it will occasionally spend hefty amounts to “help promote any flick with which it’s associated.”

Edit by DAF

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Full article:
http://www.businessweek.com/technology/content/nov2008/tc20081126_092112.htm?chan=top+news_top+news+index+-+temp_companies

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Even in a recession, companies still paying big bucks for potential blockbusters.

January 9, 2009
Excerpted from WSJ, “Blockbuster or Bust” by Anita Elberse, January 4, 2009

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Amid the worst economic crisis to hit the United States in decades, publishing executives are still making what many see as outrageous gambles on new manuscripts.

With double-or-nothing daring, most large media firms make outsized investments to acquire and market a small number of titles with strong hit potential, and bank on their sales to make up for middling performance in the rest of their catalogs.

Given the constantly shifting tastes of consumers, it is extremely difficult to forecast demand for a new title. The one useful indicator is its resemblance to an existing bestseller. This similarity is an indicator that’s evident to any editor or publisher who sees the proposal … triggering competitive bidding situations.

When a publisher spends an inordinate amount on an acquisition, it will do everything in its power to make that project a market success. Most importantly, this means supporting the book with higher-than-average marketing, advertising and distribution support.  With such high stakes and money tied up in a few big projects in the pipeline, the need to score big becomes more pressing, and the process repeats itself. The result is a spiral of ever-increasing bets on the most promising concepts, creating a “blockbuster trap.”

But what would happen if a publisher decided to stop making large bids and systematically walked away from the most sought-after — and therefore expensive — new properties?

First, agents would stop sending such a publisher their most promising book proposals, the most talented editors and other creative talent would leave to work for a publisher that would let them pursue the projects they thought had the highest chances of success, and firing up the publisher’s sales reps would be a major challenge.

In most media markets, support from the biggest retailers is decisive. A significant share of books is bought on impulse, so significant shelf space and room on display tables (“pile ’em high and watch ’em fly” tactics) are particularly important. Book retailers like Borders and Barnes & Noble want to see evidence that a book is worthy of their scarce resources. They like nothing better than to know that a book publisher … is planning an extensive marketing campaign. 

Consumers prefer blockbusters. Because they are inherently social, people find value in reading the same books and watching the same movies that others do. This is true even in today’s markets where, thanks to the Internet, buyers have easy access to millions and millions of titles. Compounding this tendency is the fact that media products are what economists call “experience goods”: that is, shoppers have trouble evaluating them before having consumed or experienced them. Unable to judge a book by its cover, readers look for cues as to its suitability for them, and find it very useful to hear that “Dewey” is “a ‘Marley & Me’ for cat lovers.” In much the same way that potential publishers do, readers value resemblances to past favorites.

Edit by NRV

Full article:
http://online.wsj.com/article/SB123093737793850127.html

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By the way: Saw Marley & Me over the break — a major disappointment.  ALL of the funny scenes are in the trailer and TV commercial.  Marley was undisciplined and unlovable, Owen Wilson is a dufass (grossly miscast as a reporter), and Jennifer Aniston is showing some serious mileage.  Even a shot of Oxyglobin wouldn’t have saved Marley or the movie. Wait for it on free TV.

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Sony cuts consumers' stress by banning discounting … say, what ?

January 9, 2009

Excerpted from the New York Times, “For Sony, No Discounts Means Stress-Free Shopping”, by Saul Hansell, November 20, 2008

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Eliminating price competition among retailers for high-end cameras and TVs is a great benefit for consumers — so say Sony executives .

Sony bans retailers from discounting Sony’s Alpha digital camera line, its more expensive televisions and some other high-end products. They claim that by having the price for these products be the same at all retailers, they eliminate stress for buyers.

“Consumers don’t have to worry about whether I can get a better deal at retailer A or retailer B. Everybody gets the best deal.” Stores can now compete on other attributes, like education and support.

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A quick scan of photography blogs does not find much gratitude for all the stress that Sony has saved camera buyers. On a blog dedicated to Sony’s cameras, some posters complain about the price of cameras and accessories increasing by hundreds of dollars. The program has been controversial, even among electronics dealers

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Sony is increasing promotions in retail stores, but was not cutting the prices it planned for the holiday season. “There was value planned in the product,” said Sony execs, “That value is there. Whether consumers will take advantage of it is another question. But we don’t think that dropping the price alone will add traffic.”

Edit by DAF

Sony cuts consumers’ stress by banning discounting … say, what ?

January 9, 2009

Excerpted from the New York Times, “For Sony, No Discounts Means Stress-Free Shopping”, by Saul Hansell, November 20, 2008

* * * * *

Eliminating price competition among retailers for high-end cameras and TVs is a great benefit for consumers — so say Sony executives .

Sony bans retailers from discounting Sony’s Alpha digital camera line, its more expensive televisions and some other high-end products. They claim that by having the price for these products be the same at all retailers, they eliminate stress for buyers.

“Consumers don’t have to worry about whether I can get a better deal at retailer A or retailer B. Everybody gets the best deal.” Stores can now compete on other attributes, like education and support.

* * * * *

A quick scan of photography blogs does not find much gratitude for all the stress that Sony has saved camera buyers. On a blog dedicated to Sony’s cameras, some posters complain about the price of cameras and accessories increasing by hundreds of dollars. The program has been controversial, even among electronics dealers

* * * * *

Sony is increasing promotions in retail stores, but was not cutting the prices it planned for the holiday season. “There was value planned in the product,” said Sony execs, “That value is there. Whether consumers will take advantage of it is another question. But we don’t think that dropping the price alone will add traffic.”

Edit by DAF

Disguising price increases … Is it just me, or is that package smaller than it used to be ?

January 9, 2009

Excerpted from the Minneapolis Star Tribune, “Freshly squeezed: The ever shrinking box and carton” by Chris Serres, December 2, 2008

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In the past year, thousands of small, almost imperceptible changes swept through the grocery aisles where American families shop each day.

The indented bottom of a Skippy peanut butter jar got more indented, turning an 18-ounce jar into a 16.3-ounce one. Ice cream containers shrank by one-quarter of a quart. And for breakfast, a jug of Tropicana orange juice got 7 ounces lighter while that box of Froot Loops lost more than 2 ounces.

Shoppers without a keen eye and a willingness to read the fine print on labels might have missed what has happened: Food manufacturers were downsizing packages, while keeping prices the same, as they passed on higher food costs to consumers.

According to a recent analysis by Nielsen Co., about 30 percent of all packaged goods have “lost content” over the past year. This at a time when U.S. grocery bills are rising — up 7.5 percent in October vs. the same month a year ago — at the fastest rate in 18 years.

What began as a response to rising fuel and ingredient costs has become institutionalized at many companies. At General Mills, for example, cost-cutting is so embedded that the company even has its own intimidating term for it: “Holistic Margin Management.”

It’s not always about shrinking packages, which can account for as much as 75 percent of a product’s cost. Even seemingly small changes in a package’s design can mean millions of dollars in annual savings — lessening pressure to raise prices to cover costs.

There is an entire science behind packaging reductions, enlightened by a long list of unsuccessful changes.  

For instance, food manufacturers know consumers react more to changes in height than width, so cereal boxes often get thinner before they get shorter.

Once a product changes, buyers often forget the previous size, creating a new standard.

When PepsiCo reduced the size of its Tropicana orange juice jug by 7 ounces, it touted the container’s “new ergonomic design” and easy-to-open snap cap. Yet consumer advocates argued the new features were really meant to distract from the reduced weight.

“This is the packaging equivalent of three-card monte … by changing several factors at the same time, food companies disguise the fact that you’re getting less for the same price.”

One reason food companies have gotten away with downsizing without alienating shoppers is that over the decades fewer people are preparing meals at home. So they pay less attention to measurements on packages, said John Gourville, a marketing professor at Harvard Business School.

“The reality is, people pay more attention to prices than sizes … and the food companies know it.”

“You can take an ounce out here and an ounce out there, and maybe people won’t notice,” he said. “But if you do it repeatedly, and people are only getting three servings per cereal box, then people are much more likely to say, ‘What’s going on here?’ And it gets harder and harder to do.”  

Edit by NRV

Full article:
http://www.startribune.com/business/35343634.html 

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Ken’s Take: You have to sort this marketing approach into 3 parts: (1) more effective packaging — e.g. more merchandising impact, better ergonomics (2) cost-cutting — e.g. more efficient use of volume and space, and (3) higher prices — e.g. on a per ounce basis.  Re: the latter — it is usually easier to raise “unit prices”  by resizing than by changing the price “per package” 

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