Sales Force Effectiveness– Part 2– Benefits & Fundamentals – Asrar Qureshi’s Blog Post #779

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Chiefs vs Bills | Orchard Park, NY | January 21, 2024

Gant ‘Blank Canvas Project x Kilo Kish Bouclé Varsity Jacket’ - $1,800.00 (sold out)

Rather than opt for actual Chiefs merchandise, Taylor opted for one of her go-to outerwear brands in Chiefs-approved colours that also included some stars (do u like dem?). I’ve found that on a number of occasions opting for Chiefs colours in otherwise normal street style garments has been her strategy for away games.

This particular jacket was part of a trio of designs Gant executed in collaboration with artistic talents as part of their “Blank Canvas Project” campaign. The concept being to “[transform] the quintessential symbol of American Sportswear into wearable works of art.” The artist in question, Kilo Kish, said the “inspiration behind [her] design was Ivy League culture” - an extension on the themes she explored on her album American Gurl. As with much of Gant’s ethos, the brand’s objective to create modern pieces that are not only heirloom quality but that riff on Americana athletics is such a natural integration into Taylor’s game day style. The added bonus is that each of the Blank Canvas designs had 100% of its sale proceeds go towards a charity of the artist's choosing - something I'm sure Taylor could get behind having done her own share of philanthropic donations on each of the stops on the Eras Tour.

Kilo added when designing the jacket, “When people see the jacket, I want them to feel the playfulness and I want them to feel like it’s personalized and almost homemade looking.” That homemade feeling has been a personal touch also present through Taylor’s game day fashion. Where, in a world of seemingly endless options, Taylor has shown a level of care and intention to opt for small businesses (local to KC or women-owned) or items that are handmade (Kristin Juszczyk’s jacket and Kut the Knit’s crocheted beanie as just two examples).

As for the ‘CTFL’ on the jacket - my best guess (as confirmed by the artist themselves) is the FL is a reference to Kilo’s home state of Florida and the CT to Gant's headquarters in Connecticut. Which is also paid homage to in Gant’s FW 2023 collection with varsity jackets honouring New Haven, Connecticut and its Ivy League school Yale that Kilo also wore in campaign imagery for Gant.

Fractured and Adrift

I was going to write a big huge post with lots of screen shots and chart data and analysis that I'd saved on my phone, but honestly I'm too sick right now to sit up and organize all that. If you go on twitter, you see in real time what is happening, anyway.

Bottom lines:

it's very clear to me that ads, payola, pay to play, vpn and other "networking" tactics that go against what BTS has always been about have pretty much come into play--for a catchy, but ultimately impersonal and generic, pop single that was given to only one member.

I'm not just disappointed, I'm gutted. I don't know where to go from here, as someone who used to take pride in being an ARMY and stanning artists who made it to the top the organic and hard way, by being genuine and talented and real with us.

As always, I look to my ult-bias, Jimin. His debut album was abandoned the moment he hit #1, yet he continues on with this company and to be a team player. He was with JK on private time during a couple's holiday. He's been filmed with and is likely working on some sort of project with JK right now. These are my cues. So without any further information about what is happening, I will continue to follow Jimin's lead.

I am a person who believes in the potential and the very best of others until I just can't any more. But I also cannot hide from the glaringly obvious. Jimin was mistreated, and Jungkook was prioritized in ways I personally find dishonorable.

I don't know how much, if any, input JK had in this. He's got a Masters in Communications, a decade of industry experience, and owns stock in his company; but I also know that talent are very rarely given complete insight or say over sales and marketing strategies--that's external, executive business decisions. I don't know what conversations, trade-offs, or internal pressure came into play here.

At this point, I would say I'm very adrift.

I'm a good soldier. I bought the CD, I bought each version of the song, I added it to my playlists. But I no longer feel needed as a fan for Seven; I feel replaced by Scooter's dollars. And I don't feel any personal connection to this particular song, as catchy as it is. I was excited when the styles JK helped choose seemed to be an homage to Jimin's Face, but... now a lot of the elements of this work seem rushed and disjointed. I just don't know.

I'm very worried about what this rollout means for our 7, especially how they are supposed to come together in a fair and equitable way after military service. I'm trying to read through their book when I can stay awake long enough. Trying to trust and hope and manifest the best.

I wish there was more transparency, more communications around what the game plan is, and if the members are all on board with everything.

All I can think to do is to keep loving Jimin and the people who are good to Jimin, keep working hard for what I want and not invest energy and time into what I don't. I do believe that Jungkook and Jimin love one another.

But I'm... fracturing... inside. It hurts.

I'm very ill. Maybe I'm just too emotional right now because I'm so sickly. Maybe I just need more time and more data to have a more rational perspective.

All I can think to do is hang in there and wait to be more anchored in facts before I can decide what all this means--for Jikook, for BTS.

I'm sorry if this post isn't very coherent. I'm on a bunch of steroids until I can get to a specialist and the brain fog is immense. I'm gonna go rest now. I think I might stop posting memes and thirsts and other things for a bit, while I just focus on getting well. But I'm sending you all so much love.

Hang in there. Deep breaths. We will find our way. We will make our way, if necessary.

Harry Styles’ As It Was has been revealed as the winner of IFPI’s Global Single Award 2022.

IFPI, which represents the global record industry, presents the award to the biggest-selling single across all digital formats, comprising paid and ad-funded streams and downloads.

This marks the first time Styles, who has also enjoyed recent success at The BRITs and The Grammys, has won the IFPI award as a solo artist. Ten years ago, One Direction topped the inaugural IFPI Global Recording Artist Chart and the IFPI Global Album Chart.

IFPI chief executive Frances Moore said: “Congratulations to Harry Styles, and all of his team, on winning IFPI’s Global Single of the Year Award. Harry first received an IFPI Award as part of One Direction when we first launched the IFPI Global Recording Artist Chart 10 years ago, so it’s an honour to present him with an award this year for his stellar single As It Was which has soundtracked the year for so many music fans around the world.”

As It Was has 1,729,679 sales in the UK, according to the Official Charts Company. It is now the singer’s second biggest UK hit, behind Watermelon Sugar which has 2,133,817 sales. As It Was’ parent album Harry’s House also hit No.1 and has 502,156 UK sales to date.

IFPI, which represents the global record industry, presents the award to the biggest-selling single across all digital formats, comprising paid and ad-funded streams and downloads.

This marks the first time Styles, who has also enjoyed recent success at The BRITs and The Grammys, has won the IFPI award as a solo artist. Ten years ago, One Direction topped the inaugural IFPI Global Recording Artist Chart and the IFPI Global Album Chart.

IFPI chief executive Frances Moore said: “Congratulations to Harry Styles, and all of his team, on winning IFPI’s Global Single of the Year Award. Harry first received an IFPI Award as part of One Direction when we first launched the IFPI Global Recording Artist Chart 10 years ago, so it’s an honour to present him with an award this year for his stellar single As It Was which has soundtracked the year for so many music fans around the world.”

As It Was has 1,729,679 sales in the UK, according to the Official Charts Company. It is now the singer’s second biggest UK hit, behind Watermelon Sugar which has 2,133,817 sales. As It Was’ parent album Harry’s House also hit No.1 and has 502,156 UK sales to date.

Last year, As It Was co-writer Tyler Johnson told the story of how the song was made in a Hitmakers interview with Music Week.

“It’s got such a mellowness to it and it doesn’t really go for any big moments,” Johnson said. “Harry had the vision for it to be the lead single [from Harry’s House]. I’m very impressed at how he saw that it was what his audience wanted, and also people in general – it’s not just his fans who have taken to the song. When it came out on Spotify and I pressed play I got a good feeling in my stomach like, ‘I like that people are hearing this song.’”

“Harry was sitting on the Moog One and I liked what he was playing, so I sat down and played as he started to write the melodies and the lyrics,” Johnson added. “I said to Harry, ‘We need a lead line’ and he just came up right away with the ‘Dah, dah, dah...’ part. He didn’t hesitate. Then he started writing the second verse and referring to himself in the third person. So much of this song just came from Harry’s heart.”

Sophie Jones, the BPI’s chief strategy officer & interim CEO has also offered congratulations to Styles. 

“It’s great to see UK artists do so well in the IFPI global charts, particularly dominating the songs of 2022, with Harry Styles and Glass Animals at No.1 and No.2 and nearly half the top 20 claimed by UK talent,” Jones said. “Our congratulations to Harry Styles for featuring so strongly in the global charts and to all UK artists and their labels for an excellent performance last year.”

Styles is joined by Glass Animals, Elton John & Dua Lipa, Ed Sheeran and Adele in the Top 20. The list also features four songs performed in Spanish, with Bad Bunny appearing twice alongside Farruko and Karol G.

Kate Bush’s Running Up That Hill (A Deal With God) also features following its revival after a sync in Stranger Things.

Tolna Tome-Monger of Sorcerous Sundries, I hope you are prepared for the absolute juggernaut of combined nerdery that is Hector and Gale coming to talk to you about magical history.

"Literature department. Can I help you?"

She's whispering, which Hector immediately finds charming. Reminds him of the head librarian in the monastery, a wizened little old woman who happily listened to Hector chatter away about his latest discoveries in the ancient tomes he read through every day. He lowers his own voice accordingly.

"I'd be interested in any especially rare tomes you might have," he whispers back.

"Bold!" she says softly with a bright grin. "You might've heard that our library has a collection other shops would lack the skill to curate. Between us - even Master Lorroakan was reluctant to house them in his tower. The pen is mightier than the magic wand, apparently." She gestures around her dramatically. "They're locked away here for their and our customers' safety. Our finest reserve includes the 'Tharchiate Codex,' 'The Annals of Karsus: A Netherese Folly', 'Sights of the Seelie', and 'The Curriculum of Strategy.' Do any of those interest you?"

Ultimately the one they're interested in is The Annals of Karsus, but Hector's curiosity about the others is immediately roused as well. He is definitely bouncing excitedly on the balls of his feet as he asks about each - rather in the way Karlach did when she found out they could go to the circus. (She is standing watching this unfold with affectionate bemusement - but loving seeing him so excited about something.)

"The Tharchiate Codex," he says politely.

Her eyes widen and she leans forward slightly. "Interesting choice..." she whispers. "If I didn't know better, I'd think you might have 'The Necromancy of Thay' in your possession... I'd advise tremendous care with the 'Tharchiate Codex.' The cost of unlocking its mysteries is... onerous."

(A/N: Oho! Hector does NOT have The Necromancy of Thay, as he smashed that book into tiny pieces back when we found it in the Blighted Village. (Gale was NOT happy, and even less so when a bunch of shadows emerged from the smashed book and one-shot him.) But I will have to keep this in mind for my other playthroughs where I kept it.)

Hector decides to let that pass for now, and asks next about 'Sights of the Seelie.'

"Its author was a spectacularly talented halfling," the bookseller says soberly. "She was, allegedly, able to establish contact with members of the Seelie Court. Can you even imagine what wonders the fey pantheon might've revealed? Incredible!"

What about 'The Curriculum of Strategy'?

"You've heard about the Red Knight, I trust?" she mutters intensely. "Devout strategist, made exarch of Tempus. This treaty is a compilation of her own design, kept here on the Material Plane for the benefit of us mortals. Quite rare."

Hector is listening to all of this with rapt attention, his eyes very wide. Finally he comes to the main point of their visit. 'The Annals of Karsus: A Netherese Folly.'

"It is said," the woman intones softly, "to be written by Lord Karsus himself, the Netherese arcanist who attempted to replace the goddess Mystra, failed, and was banished for the attempt. Great magical knowledge lies within those pages - but not many can withstand it."

"That's it," Gale hisses excitedly. "That's what I need."

Narrator: The Annals of Karsus would no doubt have much to say about the crown's true nature - if only you could read them.

Well, Hector probably can't, but Gale certainly can.

"Sounds perfect," he whispers. "How much for me to buy it from you?"

She lifts her eyebrows, visibly startled. "Buy?" she says warily. "Books as temperamental as these are not on sale. They are secured in our vault, where none can harm them, nor can they do any harm. Consider yourself lucky to have learned of such a book's existence. And then forget about it - the Annals of Karsus are best left unread."

She's probably right, in the grand scheme of things - but they do need that book, which Hector is mildly glad of, because it means the correct thing to do here is to indulge his suddenly desperate curiosity to see that vault, which would be a thoroughly ill-advised choice in any other circumstance.

[PERSUASION] "Isn't it your job to share knowledge, not keep it locked away?" he asks earnestly. "At least tell me where the vault is..."

She tips her head to one side, studying him. Perhaps she sees a kindred spirit in him, the side of him that has been so buried under violence and pain of late, the boy from Silverlight Monastery who eagerly devoured every historical tome in the place and always hungered for more. But if she does - it is not enough to sway her from her implacable certainty that the books are not to be troubled. "Customers like you are why I prefer the company of books," she says wearily. "The only way to gain access to the vault is through my office. And before you ask - no, you are not allowed in there either."

Well, Hector and company have long since learned that locks are only a temporary annoyance if they really need to be somewhere. But as Hector prefers an honest solution if one can be found, he asks, "Surely there's some amount of gold that could convince you to part with the book?"

She narrows her eyes at him. "Psht. I already told you," she whispers fiercely. "It is locked in our vault. And with good reason. Imagine if a tome so dangerous were sold to someone with such poor comprehension."

Behind him, he hears Karlach swallow a snickering laugh, and resists the urge to grin himself.

"Thank you. I've learned more than enough," he says politely and turns away.

"You certainly has," the bookseller hisses at his back. "Even simple knowledge of these tomes is enough to stimulate most."

------

"That was cute, Hec," Karlach says with a wide grin as they walk away from the counter. "I don't think I've ever seen you that excited before."

"The collection of wisdom and knowledge that woman clearly has in her possession," Hector says. He's still visibly energized, his fingers twitching excitedly. "You were right, Gale. This place is incredible."

"I told you," Gale says with a soft chuckle. "A collection of magical lore with no equal on this plane of existence, I dare say - and certainly well worth our time to explore even in less dire circumstances. But... we will still be pursuing the Netherese book, yes? In spite of her objections."

"We will." Hector nods. "One way or another, I'll see to it that we find what you need."

"I might have to pick up a few books too," Karlach puts in.

Hector raises an eyebrow at her. "Sudden interest in magical lore?" he asks mildly.

She smiles playfully. "No, but I've got a very vested interest in anything that gets you excited. Or stimulated, as that woman put it."

Jaheira snorts. "Yes - it is well known that such books are tremendously romantic, is it not?" she says dryly. "Then again..." She shoots Hector a sideways look and then laughs. "I forgot who I was speaking of."

You made a good point of how this staged photoshoot will lead to increased exposure and ticket sales esp ahead of the US tour, because correct me if I’m wrong, but I don’t think all their US dates are sold out? They’re not as popular in the states and it’s been a couple months since I checked but I only saw a handful of shows that showed sold out. All this just reminds us of a curated version we have of him. Someone who likes privacy and wants to be lowkey doesn’t date attention seekers consistently and calls the paps on themselves. He just lost all credibility he had

Words of wisdom here from a lovely anon and thank you for sharing these thoughts, i agree with every word 💘

I think people generally get very caught up in the whole "alex is a romantic little prince too busy with his mind on clever lines he's innocent and private and not like other celebs and his privacy has been violated" narrative and tend to forget how much of a business this whole thing is.

The primary purpose of any business, be that show business or not, is to make money. The band is an asset that needs to generate revenue. American market has huge potential for that, alas, as the anon above correctly pointed out, very few of the US shows are sold out at this point, just a month ahead of the tour and the sales need to be boosted. The best strategy would definitely be to hype it up a little. American audience seems to be really into the whole straight dominant greaser bad boy persona (where do you think all those endless alex/your name fics with that shitty 50 shades of grey vibes come from?) and the target audience must be catered for. Both parties benefit: Alex gets the publicity of a cool rockstar kind of tired of his fame with a beautiful gf by his side on an expensive posh Italian resort. The pictures will now be all over insta/twitter/tiktok igniting interest in new fans and rekindling the old ones. The girls will fantasise about taking Louise's place in his arms (oh to be a girlfriend of this rich handsome millionaire musician who is also intelligent and talented and famous and who will fuck you like a whore then treat you like a princess!) and the boys will be jealous of him and his beautiful French girlfriend, wanting to be like him (oh to be this rich handsome millionaire and get all the girls!). Some more tickets will be sold, some more records, some more merch, and a couple of tens (or hundreds) of thousands of dollars will be made. Louise on the other hand, will get more followers and will have more ads, which will also lead to more revenue for her and hence whoever is managing her. Not bad, no?

Alex is usually perceived as a poet with his head in the clouds, an ethereal creature, a poetic and storytelling genius, vulnerable, autistic woodland creature, too exquisite for earthly problems, fragile and defenseless. He is, however, in no way disconnected from reality or too naive not to know how the business works - after all, he's been in it for almost twenty years. And I am supposed to believe his privacy has been violated when it has hardly been violated for the 5 years he was hiding from everyone and no paparazzi whatsoever gave a fuck about him? Oh give me a break. His net worth is estimated to be millions of dollars, same as the band. He is one of the richest rock stars of the generation. I am not saying it is a bad thing - well deserved, he is a genius after all, - but money, even for geniuses, has to be earned. Their music is a product that needs to be sold, and their public image is one of the means to increase those sales.

I do not think that Alex or Louise called the paps themselves last minute - I am pretty sure the whole thing has been set up by the management in advance, with Alex's explicit consent. Again, it is just a marketing strategy which the sales and marketing department decided to go with in order to maximise the revenue. Why would Alex refuse? And please spare me the argument of 'he doesn't need any more money'. Maybe he doesn't (although i am not sure), but the band and the whole machine working for them definitely does as it employs hundreds of people who need to get their paychecks from this whole thing. Mr. Schwarz is staying strong for them, remember?

Once this is all over, the tour is over, the contracts are done and he disappears without a trace, we'll remember this and count how many times paps will ever try to take pictures of him or his gf (zero, mark my words).

Thank you for coming to my ted talk (or thesis defence, more like)♥️

please do share your thoughts, i find them very intriguing 🌻

Uhhh. There’s so much idk where to start. I’m just baffled by everything that’s happened today. You know I was thinking well the European show will have like 15 shows tops before they even announced it, I thought Hey, it’s not as bad as the number of the residency shows, it’s going to be fine. Well. It’s not very fine. There are several levels on which it’s concerning - first of all, I’m concerned about him - I know he loves performing more than anything but doing this many shows and this many stadiums on his own is absolutely unimaginable and I do find it telling that Anne even said she’s exhausted just looking at the list, that feels pointed. It feels like they’re milking him and the fans as much as they can and as if it was while they can and they’re doing nothing to build long-term sustainability of his fandom - people staying for a long time? That’s only due to Harry himself and his personality and talent and how people see him during shows and stuff, not the depersonalization of Harry StylesTM. While as a fan you should be happy he’s going on tour and you’re going to see him the mood that was so prevalent in more than one corners of the fandom is frustration and being concerned. Frustration because the strategy of adding the dates during the pre-sale of the original shows was so ill-advised. The fact that they originally skipped quite a few countries from which people will travel to others is one thing and natural, he just can’t be everywhere, another thing is people planning travel, trying to get at least some tickets bc it seems like the show will be sold out already (although they put quite a small portion of tickets on sale today anyway from what I know) and spending their money on worse tickets only for other shows to be announced and immediately put on sale as well????? When people didn’t have any time to prepare and were panic buying and felt scammed and cheated?? And for those dates to go to places that already got dates? For Germany to get 8 dates but in places that are quite close to each other and far from places where people from Czech Republic, Slovakia, Hungary and other countries may travel more easily since their countries are skipped??? And to introduce dynamic pricing through the live nation presale in the UK? Instead of just adding a show somewhere he’s never been, like Greece? You can’t tell me the same places are because of his well-being and health, there seems to be no regard for that. It’s treating the fans shitty as hell to do it like this, not even wait for a few weeks and after the general on sale and be like due to popular demand we are adding a few shows! They were just throwing it at people today and grabbing money, acting like this is Harry’s last tour or something and milking him and the fans left and right. The fact that I feel shitty about getting tickets now is not right, I love that man more than anything. And I bet you they’re going to add more dates tomorrow as well. Something about the whole thing feels really odd and if anyone cares about him and his career being sustainable for him as well as in regard to him keeping a fanbase they need to do better.

Business Development in a Competitive Market: Strategies to Stay Ahead

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In an era where data is the cornerstone of decision-making, interpreting insights is a competitive advantage. Exploring Sales Leads and B2B Sales trends, this segment underscores the power of data analysis. By deciphering patterns, uncovering market shifts, and discerning consumer behaviors, you empower your business with the foresight needed to pivot proactively and capture emerging opportunities.

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Louis being shocked and unprepared for the end of 1D is Louis being dishonest and spinning a story for his fans. They enjoy imagining that Harry waltzed in one day, said he was going solo, and fuck you guys, by the way. Louis leans into that narrative without explicitly saying it.

Can you imagine them never talking about the end? 1D stans think of them as “the boys” but by that stage they were young men working in the pop music business, endless meetings and branding strategies and media training. They were professionals, no matter how much they messed about on stage. They answered questions about it in interviews. They talked about it in their film! By the time the hiatus/break-up was broached, their ticket sales were not as good, they were on a downward trajectory. Did they simply never talk about that? How to go forward? Whether to go forward?

I believe that Louis never thought of being a solo artist. Him saying that actually gives an insight into the songwriting lie: if he truly had been such a talented songwriter, he would quite naturally have been thinking about what he could do with the songs he was writing. The band wasn’t exactly the place for the sound he preferred, he was frustrated by that, so it would have been the obvious direction for him as an artist to take. But in reality, he had nothing to take forward as a solo artist. He is not an artist.

“I was so obsessed with us moving as a unit and being part of this team”. Hmmmm. Unit/team. This is a line written to emphasise Louis’ dedication to the band. But think of all the ways in which he actually sabotaged the group dynamic. There’s everything we see in interviews: spiteful comments at other people’s answers, distracting people when others are talking. The endless smoking: that’s not contributing to the band, is it? Bullying the staff and laughing about it on tv. Stealing things. Where was the team spirit when he was sleeping out in the tour bus? We have heard how he pissed people off, songwriters, producers. We can see his bad attitude to people (the way he talked to Paul Roberts, the choreographer, in one of their films - shocking). Currently he has no collaborators, no industry friends, and he has to run a competition to get bands to open for him on tour. That is not a team player.

I don’t think Louis is stupid, but I think he thinks his fans are stupid. I think he’s got an unfortunate personality: the type that tears people down and calls it straight-talking, then says he’s joking and people shouldn’t be so sensitive. I think he knows fine he has no talent and no charm, and he goes for this ‘I was clueless and devoted to 1D’ narrative in order to get the fans to feel sorry for him. I think if 1D were all open about it, we’d hear that life in the band was very much about managing Louis’ bad energy and that his bullying personality had an effect on all of them. Honestly, good riddance to 1D, and I hope they never re-form even for one minute. I don’t want Louis to have the satisfaction! (I think we’re safe, though.)

👏👏👏👏 I knew Harry was miserable and frustrated that last year in 1d, but didn't realise the extent until I saw how light and happy he was as a soloist.

The Marvel Era of G.I. Joe and Transformers

The Marvel Era of G.I. Joe and Transformers comics and animated series, produced by Sunbow and Marvel Productions, was undoubtedly the best for both toy franchises of Hasbro. The 1980s was a time of great innovation in the world of toys, and Hasbro was at the forefront of this revolution. By partnering with Marvel Productions, Hasbro was able to produce some of the most memorable and beloved comic book series and animated shows of all time

One of the key reasons why the Marvel Era was so successful for Hasbro was the quality of the storytelling. The G.I. Joe and Transformers comics and animated series were written by some of the best writers in the business, and they were able to create rich, engaging storylines that kept fans coming back for more. These stories were full of action, adventure, and excitement, and they helped to bring these toy franchises to life in a way that had never been seen before

Another reason why it was so successful was the way that the comics and animated series were able to cross-promote the toys. The G.I. Joe and Transformers toys were already popular, but the comics and animated series helped to create a whole new level of excitement around these franchises. Fans of the comics and animated series wanted to collect the toys, and vice versa. This cross-promotion helped create a virtuous sales cycle that was incredibly profitable for Hasbro

The era was also successful because of the way that it was able to capture the imagination of children. The G.I. Joe and Transformers comics and animated series were full of colorful characters, amazing vehicles, and incredible battles. Children were able to engage with these franchises in a way that was both exciting and educational. They learned about teamwork, strategy, and problem-solving as they watched their favorite heroes and villains battle it out on the screen and on the pages of the comics

The Writers

Larry Hama (Photo by Ramsay de Give) 

There were several comic book writers who wrote excellent stories for both G.I. Joe and Transformers franchises in the 1980s. Some of them include:

Larry Hama - Hama was the main writer for the G.I. Joe comic book series and is widely considered to be one of the best writers to ever work on the franchise. He was responsible for creating many of the characters and storylines that would go on to become iconic parts of the G.I. Joe mythos

Bob Budiansky - Budiansky was the writer for the original Transformers comic book series and also helped to create many of the characters and storylines that would become part of the franchise. He wrote the first 50 issues of the series and is credited with helping to establish the Transformers as a major player in the world of comics

Simon Furman - Furman took over the Transformers comic book series after Budiansky and helped to continue the franchise's success. He is widely considered to be one of the best writers to ever work on the Transformers, and he was responsible for many of the key storylines and character developments that helped to shape the franchise

Michael Higgins - Higgins was a writer for both the G.I. Joe and Transformers comic book series in the 1980s. He helped to develop many of the storylines and characters for both franchises and was responsible for some of the most memorable moments in both series

These writers, among others, helped to create the rich and engaging storylines that made the G.I. Joe and Transformers franchises so successful in the 1980s. Their contributions helped to establish the franchises as major players in the world of comics and animation, and their influence can still be felt in these franchises today

The Artists

Cover Art by Herb Trimpe

Cover Art by Jim Lee

There were several talented comic book artists who worked on the Marvel Era of G.I. Joe and Transformers comics, and many of them remain favorites among fans to this day. Here are a few notable names:

Herb Trimpe - Trimpe was the original artist on the G.I. Joe comic book series and worked on the title for its first 50 issues. He is widely regarded as one of the defining G.I. Joe artists and is credited with creating some of the most iconic designs for the characters

Larry Hama - Hama not only wrote the G.I. Joe comic book series, but he also created many of the characters and storylines that defined the franchise. His work on the series has been praised for its depth, character development, and strong military themes

Don Perlin - Perlin was the original artist on the Transformers comic book series and worked on the title for its first 20 issues. He is credited with helping to establish the look and feel of the Transformers universe, and his work on the series remains popular among fans

Andrew Wildman - Wildman took over as the primary artist on the Transformers comic book series with issue #56 and worked on the title for several years. He is known for his dynamic and detailed artwork, which helped to bring the Transformers characters to life in the comics

Jim Lee - Lee worked on the G.I. Joe comic book series in the early 1990s and is credited with helping to revitalize the franchise with his distinctive art style. His work on the series is still highly regarded by fans today

These are just a few of the many talented artists who worked on G.I. Joe and Transformers comics during that era. Their contributions helped to make these franchises some of the most beloved in pop culture history

Dennis O’Neil

Dennis O'Neil was a legendary editor for Marvel Comics, and his impact on the G.I. Joe and Transformers franchises was significant. O'Neil was known for his meticulous attention to detail and his commitment to creating quality stories that would resonate with readers. After all, he came up with the name Optimus Prime

In the case of G.I. Joe, O'Neil was instrumental in bringing the franchise to Marvel Comics in the first place. He recognized the potential of the toy line and helped to create a comic book series that would go on to become one of the most successful of the 1980s. O'Neil worked closely with writer Larry Hama to develop the characters and storylines that would become iconic parts of the G.I. Joe mythos

O'Neil's influence on the Transformers franchise was equally significant. He became the editor of the Transformers comic book series in the mid-1980s, and he helped to steer the franchise in a new direction. O'Neil recognized that the Transformers had the potential to be more than just a toy line, and he worked with writer Simon Furman to create a more sophisticated and complex storyline that would appeal to older readers

Under O'Neil's guidance, the Transformers comic book series became darker and more mature, with a greater emphasis on character development and story complexity. O'Neil encouraged Furman to develop more complex story arcs and explore the deeper themes and ideas in the Transformers franchise

Overall, Dennis O'Neil's impact on the G.I. Joe and Transformers franchises cannot be overstated. His commitment to quality storytelling and his willingness to take risks helped establish both franchises as major players in comics and animation. His legacy continues to be felt in these franchises today, and his influence on the world of comics will be remembered for years to come

End Note

The Joes and Robots in Disguise’s Marvel Era in the 80s were successful because of the way that they helped to shape popular culture. The G.I. Joe and Transformers franchises were not just popular with children; they were also popular with adults. The comics and animated series helped to create a sense of nostalgia for a bygone era, and they helped to inspire a new generation of writers, artists, and filmmakers

In conclusion, the Marvel Era of G.I. Joe and Transformers comics and animated series helped to shape popular culture in a way that is still being felt today. The quality of the storytelling, the cross-promotion of the toys, the imaginative world-building, and the impact on popular culture all contributed to the success of the Marvel Era. It is no wonder that these franchises continue to be popular with fans of all ages

GI Joe A Real American Hero Cartoons

Transformers Generation 1 Cartoons

YouTube unleashed an influential generation of new internet celebrities in 2007 when it started to share ad revenue with select video creators. For the past couple of years, a snippet of code on YouTube’s website revealed which channels are part of the secretive and exclusive club. But users and activists who had come to rely on that flag suddenly found themselves in the dark last month.

YouTube removed the code, shutting off the ability of creators to keep tabs on their competitors—and of journalists and researchers to hold the world's largest video streaming service accountable for who it allows into what’s known as the YouTube Partner Program, or YPP. Its demise hasn’t been previously reported.

Being part of YPP can be a validation of creators' talents, but the uncertainty left by the code's removal could let both new joiners and kicked-out creators escape attention. In September, YouTube announced that UK comedian Russell Brand had been suspended from YPP after several women accused him of rape and sexual assault. Now, it’s more difficult to track a channel’s status.

Maen Hammad says he and his colleagues at the US corporate responsibility advocacy group Ekō used the code on YouTube channels and tools empowered by it to carry out their investigations. The nonprofit previously used the flag to report on anti-LGBTQ content receiving revenue from YouTube. “I would have to believe that YouTube took out the source code after many civil society groups were using them to corroborate that YouTube was monetizing some of the worst disinformation on the internet,” Hammad says.

Tony Woodall, who runs a travel channel that he hopes will soon meet the viewership requirements to join YPP, made use of YouTube’s transparency about accounts in the program in recent months. He used the Google Chrome extension Is YouTube Channel Monetized?, which was powered by the code snippet, to research and learn from the strategies of other travel accounts already in YPP. “YouTube creators like to know which other creators are getting monetized and ask, ‘Why not me?’” Woodall says. He now feels deflated—the extension has stopped working, and no clear alternatives are available.

Asked about the vanished code, YouTube spokesperson Kimberly Taylor says the service constantly makes updates to improve the privacy of creators and viewers. While ads appear on a variety of videos and channels, just those in YPP get a portion of sales. Whether someone is earning ad revenue share is a fact YouTube intends to keep private with the channel owner, Taylor says.

The sensitivity of that information is debatable. Lindz Amer, a transgender, nonbinary creator of kids’ content in YPP, says they never found it concerning for the public to know they received a share of ad revenue from YouTube. “People already assume my channel is monetized, because they see my subscriber count and they see ads,” says Amer, who has nearly 29,000 subscribers on YouTube. “I absolutely understand the importance of privacy but it’s not something that matters to me as much as my address not being online.”

Coded Mystery

YouTube, which is owned by Google, a subsidiary of Alphabet, pays up to 55 percent of ad revenue and a portion of subscription sales to more than 2 million creators who’ve met viewership and quality requirements to become part of YPP. After YouTube said it improved its ability to identify appropriate content, it began in November 2020 showing ads on non-YPP channels, from which it keeps 100 percent of the ad sales. But the ads expansion made it challenging for the public to authoritatively determine the creators included in the program and getting a revenue share.

Fortunately for watchdogs and wannabe members of YPP trying to monitor their competitors, internet archives show that in June 2021 the publicly accessible source code for YouTube channels’ homepages began including a piece of JavaScript including a flag showing “true” or “false” for “is_monetization_enabled.” By no later than December 2021, internet sleuths had spotted the helpful code. Software developers sprung into action, developing ad-supported websites and free browser add-ons that automatically looked for “true” or “false” in the code for a channel and displayed to users whether a particular channel was enrolled in YPP and thus receiving ad payouts.

At least one analytics tool used by millions of YouTube creators, vidIQ, integrated a monetization checker based on the code directly into its platform after users requested the feature. Chrome’s extension store shows a handful of such offerings collectively have more than 7,000 users.

The owner of the website Is This Channel Monetized, who goes by Alex Portman, says he developed his own tool in November 2022 because he works in digital marketing and needed to assess whether which YouTube channel strategies were commercially viable. “I figured I was not the only one needing this, so I turned it into an online tool,” Portman says. It’s been an unprofitable venture, but it’s generated significant traffic and paid off by benefitting his day job.

Portman and other developers say the code on YouTube channels disappeared as early as November 17—the day after WIRED asked YouTube about the flag when fact-checking a story about YouTube excluding creators in the Palestinian territories from its revenue-sharing arrangement. WIRED had used the code to confirm that Palestinian channels were not in YPP. YouTube did not dispute the accuracy of the code and generally does not publicly comment on a specific channel’s monetization status.

After YouTube removed the code, Portman says, his website experienced a surge in visits. He rushed to develop a way to use other clues to provide the same information.

His new system assumes a channel is in YPP if it meets the program minimum of 1,000 subscribers (though YouTube is gradually lowering the threshold to 500) and most of its recent videos have ads. Channels with other visible monetization features like memberships or Super Thanks are also considered part of YPP, since being in the program is a prerequisite but those options have not been widely adopted by channels. Portman has to start reporting some channel’s status as “unknown” when there aren’t enough clues to provide a clear answer.

“I haven't reached out to YouTube support, as they are generally not helpful at all,” Portman says. “I highly doubt they will ever address this.”

The advocacy group Ekō had used the monetization code and tools based on it to study financial support for problematic content on YouTube. The group published a report in October about seven channels apparently in YPP that accounted for 13 videos with what Ekō described as anti-LGBTQ speech. When following up last month, Ekō’s Hammad found that eight videos seemed to no longer show ads. Because the YPP-status-checking tools had broken, he could not determine whether the channels behind the uploads had been booted from YPP entirely. YouTube’s Taylor says ads don’t appear on videos violating YouTube guidelines, which include restrictions against hateful and derogatory content.

Media Matters for America, a nonprofit that calls out alleged misinformation spread by conservative commentators and the advertisers funding them, had taken advantage of the YPP-status-check functionality to inform its own work. “Rolling back transparency will negatively impact monetization research overall, not just at Media Matters,” spokesperson Laura Keiter says. “It's disappointing that we will need to look for new methods.”

WIRED couldn’t determine whether any academic researchers had relied on the code while studying online video. One professor speaking on the condition of anonymity to avoid retribution from YouTube says they had previously looked at the flag and that it would have been valuable to their future research. “Knowing which channels seek to monetize on YouTube and which don’t would be great for studying the online creator economy,” the professor says.

YouTube spokesperson Taylor says scholars are welcome to request data through a research program open to students and staff at higher-education institutions. That data does not include information on whether a channel is part of YPP or is receiving ad-revenue-sharing payments.

To ensure YPP creators are getting paid for their work, YouTube this year has forced millions of viewers to disable ad blockers if they want to watch videos without delays or at all, frustrating users and causing chaos in the ad-blocker developer community.

Within the community that emerged around the YPP code flag, the developer of an open source monetization-checker extension who goes by Shaz suspects that the popular vidIQ service distributing the functionality may have put the issue on YouTube’s radar and “put the final nail in the coffin.” VidIQ CEO Rob Sandie says YouTube changes the data it provides all the time. “That's their decision, and we respect that, and we'll continue to find more ways to help creators,” he says.

Shaz was quick to give up on his extension after the code’s disappearance. He pulled it from the Chrome store and archived his project on the code repository GitHub, closing it off to further updates. At least unless a new clue leaks someday.

Hi! I really like your blog! Can I ask what is your opinion in regards to the recent BOC and Chinese statement issue? Please feel free to ignore if not appropriate ❤️

Hi Anon,

Thanks for asking politely. I'll answer because I can present it as a business case study which allows me to talk about BOC's failures somewhat objectively. It's clear at this point it doesn't matter how much feedback BOC gets from fans, so at least hopefully some of y'all can learn some things. *jazz hands* Didacticism.

Warning to everyone else this does not mean I am opening my inbox to complaints about how BOC sucks or how certain fans are entitled 🤪 I will block you. Open your own blog.

Be On Cloud's Communications Crisis – Business Case Study

So first, we need to define a couple of things: what is the difference between communications, marketing, and PR. Other folks with experience, please feel to add your opinion too, but how I see the difference is:

Communications is usually the the written or spoken content by which events/occurrences of a company are shared with both those internal and external to the company.

Marketing focuses both on the process by which that information is disseminated outwardly, and also usually aims at a high level to sell you an idea or product. Often the goal of a marketing campaign is explicitly measurable, whether it's in sales, conversions, email opens, etc.

Public relations (PR) is the process by which a company aims to maintain a positive public image to those outside the company

As you can see, those each have quite a bit of overlap with each other while also being distinct. Depending on the size of the company, each of those teams can be the same or differentiated. The fourth piece I want to add on to this is strategy. All three of the above are the actual day-to-day implementation of work, while strategy is the overarching goal posts by which they operate. Executives (like Mile being a CEO) influence strategy. When things go wrong, new strategy needs to be developed quickly and implemented.

(Aside: Mile has mentioned that he is an executive at BOC, but I want to clarify "executive" positions may also include being on the executive board/board of directors, who advise on strategy to the CEO or possibly of another department, and wouldn't have influence over marketing/comms. He isn't doing that work at his own businesses so I can't imagine he'd run comms for another one.)

The Earlier Crisis: Global Auditions 🤦🏻‍♀️

It might help to read these as well: The 6 Best PR Crisis Management & Communication Cases and PR Crisis Communication & Management Planning

Here are important key takeaways from the planning link:

Sound familiar? :')

I'll keep this brief, allow me to highlight a practical differentiation of the four of the above succinctly and is something the fandom collectively can agree on was a massive comms flop and PR nightmare.

Strategy: We want to recruit new talent for an upcoming series as well as generate fan hype for this series/season

Marketing: We will announce global auditions for this series/season

Communications: Unfortunately forgot to have marketing, which handle the social media posts, mention that "global" means three cities in Asia, as well as only looking for men between 16-22 despite most fans -- who saw the post -- being female.

PR: Not only makes the company's strategy look inadequate by the details of the audition only following the SM marketing announcement rather than sharing those details first/simultaneously to manage fans' expectations but also makes BOC look sexist. They haven't recovered. 🤷🏻‍♀️

I started with this one because where it went wrong was way more clean to see the breakdown.

The Case: What happened on Sept 12

BOC somehow managed to generate a PR crisis out of something that originally had the fans rallying around them, which is...impressive(ly bad).

I'm not going to document the triggering event too much but at approximately 10pm on Sept 12, stalkers tried to break into Be On Cloud's offices. I maintain my stance that it's not the company's fault or responsibility this happened, especially since these people obviously didn't succeed into getting into the building.

BOC issued a statement in Thai condemning these actions and immediately issued a following statement in Chinese on Twitter, due to the stalkers being Chinese-speakers. Obviously, a large number of KPTS fans are Chinese-speakers, but some Chinese fans pointed out that there was no immediately second translation/third set of tweet of the statement issued in English on Twitter which a large portion of the KPTS fanbase also used, especially on Twitter.

Chinese fans immediately disclaimed the stalkers as being fans but also felt they were specifically being targeted/attacked for the behavior of the stalkers.

Sept 13: The next morning, BOC issued three statements, in Thai, English, and Chinese this time. Many Chinese fans felt that the explanation in the Chinese statement was both overly brief compared to the English version and comparatively aggressive/unapologetic. BOC stood their ground and did not issue any more statements. Chinese (former?)fans then began to unfollow Apo on Weibo as well as perform a number of visible acts of quitting fandom.

What broke down? (Hint: Everything, for no reason)

I'm not going to give out too much free advice here, but here we go.

Strategy: They clearly don't have a PR crisis strategy despite the fact this isn't the first go-around. It's pretty clear they likely don't even have a PR strategy most of the time and are flying by the seat of their pants. Everything they do in terms of comms is almost reactive rather than proactive.

Marketing: The dissemination of information via socmed isn't terrible; that being said, there appears to be very little discipline over what is being sent through which channels such as if it's vetted at all (ie, the admission of being heated in the Chinese statement on Sept 13) and how well it's vetted (eg, wrongfully tagging accounts of their talent). There's a reason a lot of companies' CEOs have a personal twitter account. It allows a reiteration of statements, especially apologies, to be more personalized. Actually a lot of fans interpret Mile and Apo going online and making statements as doing damage control for BOC. Whether or not that's true, it's certainly unwise to use your talent to do that rather than your CEO who's ego should be able to take it

Communications: I'm not bothering to read the statements in depth. But It's not unreasonable for your audience to have the expectation that what's posted in one language is reasonably equivalent in other languages. Don't treat your audience like they're dumb, can't speak other languages, or don't have access to Google translate.

PR: BOC is creating these PR crises, not managing them. This isn't even the first one they've put themselves through. I think that's incriminating enough how good they are at PR.

Do I have an opinion? Sure.

Can I see where the Chinese fans are coming from? Actually yes. Fans want and deserve to be treated equally.

Do I think they're being unreasonable overreacting? Absolutely. Speaking as a Chinese-speaker too. If your personal reaction to BOC's comms team messing up is more heated than how your feel about the actors you care about being threatened by stalkers ... that's a lot.

That being said, I'm not going to waste my energy judging how individuals handle their lives or emotions. I am, like many fans, deeply concerned about how BOC is mishandling comms because BOC is not going away (for now).

Fans say lots of reactionary things, but the process by which BOC's comms team is failing is so overwhelmingly loud and public that I'm here writing a business case study about it. And that's part of PR too. Fans are always reactive -- this is not limited to KPTS or BOC. There are publicists and managers that manage Beyonce, BTS, Taylor Swift, etc. who all have loud fanbases. It's embarrassing to see a talent agency fuck up so badly it then begins to reflect on the talent. That's not just about fan reactions. BOC really needs to hire a consulting company and a new director of communications.

Should we be worried about the 2023 Film/KPTS Season 2

Surprisingly: probably not. BOC has at least two branches: a management (talent) branch and a production (art) branch. We see they're capable of handling the art.

This discrepancy between the art/artists being actually emotionally effective while the marketing side of the company just being a disaster is very reminiscent of the creators who work on Disney movies and Disney's extremely weird marketing team/s.

I'm sure Mile and Apo will do their utmost to bring us a beautiful piece of work. We likely just have to suffer BOC's continuous comms disasters while they do it.

harry is a mainstream artist tho so how is that just branding...? can someone's team fake sales and streams? Im not attacking you btw just genuinely curious I didnt get what u mean

he's a mainstream artist now

u need some backup history for this but basically hshq's strategy has been to sell him as a mega star before he became one and that was really the key, his first album was everywhere he had a week on LLS national TV ads snl etc that were already positioning way above the others. BUT even with all that he had less monthly listeners than zayn, liam AND LOUIS! at the start 2018 louis only had the pre walls singles (only 2 of them that actually got promo) and harry had all that and he was doing worse on Spotify! but do u think anyone is aware of that in the gp? hell even among fans? no! and it doesn't matter bc who was being described by rolling stone as the new Rockstar of the century? who was in every campaign ads and Victoria secret show? who won awards and was on red carpets? it wasn't liam or louis and zayn's moment was already dwindling down. meanwhile louis was being mocked by radio interviewers and being asked why didn't he just quit music.

thats what I mean when I say that branding is crucial, bc it was that approach that lead to the construction of the pedestal harry stands on today, the actual history is forgotten and unnecessary, the mega 1d star/only talented one out of 1d prophecy became reality and everyone is convinced that this was all organic and "meant to be" bc they made sure that it appeared that way, that's also why harry is trying to sell the underdog narrative even now (the Grammy speech was an attempt at that) bc it's important that this seems like an organic progression not something that he has been given on a silver platter and that was built from illusions and pr strategies

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Michael Esposito Staten Island's success as an influencer marketer is based on his ability to create true relationships with influencers whose values are consistent with those of the businesses they represent. By carefully selecting partners who identify with their target demographic, Michael ensures that each ad feels genuine and approachable, creating customer trust and loyalty. Michael's smart collaborations with local businesses and global brands have produced outstanding results, increasing engagement and sales in the ever-changing digital economy.

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