My personal brand is an accumulation of all the influencers, ideas, teachers, peers, bosses, colleagues, friends, books, TV shows, movies, individuals, discoveries and belief systems that formed my own perception of what it means to be Tom Dougherty today. Without my brand, I would wake up every day confused and without a rudder. It is exactly that memory of myself that directs how I live today.
The importance of personal branding helps my small society of human beings function. When we think about the orbit of objects in our lives, we all see ourselves as the center of that universe, The Sun, if you will, around which everything else orbits.
In a small way (even as it is ego centric), it is true. Others can navigate our foibles and tap into our strengths because they are aware of our brand and feel confident in predicting our actions and their reactions to it. It’s different than reputation because it is not simply an accumulation of facts. It also is a measure of our emotions.
Leonard Cohen is representative of branding
As I get older, I have come to realize that many of my brand precepts are older than me. The religious beliefs that influence me are more than 2500 years old. The heroes of my youth have long since died. Most of my heroic figures, as I think about it, are at least my age. I have respect for many people who are younger than me, but they are not part of the foundations of my personal brand.
Still writing and singing until days before his death, here is a single from Cohen’s heralded new album— You want it darker.
Leonard Cohen was one of those building blocks. I was touched by the fire of his music and poetry in my youth. He has helped form my sense of self and forged part of the preceptive fabric of ME.
Lyrics From Suzanne
And Jesus was a sailor
When he walked upon the water
And he spent a long time watching
From his lonely wooden tower
And when he knew for certain
Only drowning men could see him
He said “All men will be sailors then
Until the sea shall free them”
But he himself was broken
Long before the sky would open
Forsaken, almost human
He sank beneath your wisdom like a stone
And you want to travel with him
And you want to travel blind
And you think maybe you’ll trust him
For he’s touched your perfect body with his mind.
Leonard Cohen is not the first part of my brand to pass away. Much had passed away long before I adopted them or it. But part of my sense of myself died yesterday. It is with a reflective heart that I wanted to say thank you to Leonard Cohen for a life well lived. You touched my perfect body with your mind.
Leonard Cohen, rest in peace. 9/21/34-11/10/2016
Leonard Cohen Dies at 82. He was important. was last modified: November 11th, 2016 by Tom Dougherty
In fact, I am about as much of a music nut as I am about the latest tech fads. Maybe even more — as crazy as that is to believe.
On a typical summer night, you might find me outback on my deck. There, I’ll have a fresh Maduro cigar in one hand and two fingers worth of Laphroaig in the other, all while listening to some of my favorites: Diana Krall, Van Morrison or Dougie McLean. That’s the good life.
This is why the release of Apple Music was perfect for a guy like me. I had every song imaginable right in the palm of my hand (if I happened to be using my iPhone) or computer.
This all proved to be handy as my Apple Music account was connected via bluetooth — not my favorite method of listening to music, mind you — to my Amazon Echo. Sure, this was the ultimate clash of my favorite brands, but it worked well enough. I could ask Alexa, the Amazon Echo personal assistant, to turn down the volume if need be, but less easily had to change the songs from the connected Apple device. I’ll add too that, for the longest time, I wished Amazon had a catalog of music as in depth as Apple’s, not just the decent yet limited Prime selection. That way I could simply ask Alexa to play music with out the middle man (sorry, Apple).
Last week, my wish was finally granted.
Amazon Unlimited Music makes things easier.
With Amazon Music Unlimited, I can immediately snag a song and Amazon can take a piece of market share.
The Echo is one of Amazon’s biggest successes. Just like me, all three million Echo owners and users had found a makeshift way to stream music. Yet, with Amazon Music Unlimited, there is an easier way. For a really cheap price, you can tell Alexa to begin your subscription and follow that command up by asking the speaker to play any song you could ever imagine. No phone or computer necessary.
Needless to say, I have already subscribed, and bought an Echo Dot for our bedroom now too. And soon enough, I’ll buy another for my deck.
Could life get sweeter than that?
Amazon Unlimited Music strikes the right chord was last modified: October 18th, 2016 by Tom Dougherty
I like to consider myself as a bit of an audiophile. Realize, I am not here to suggest that I know every little thing about sound products. Nope, I am not that steeped in it. Rather, I am more curious about the subject, if anything. I’ll read up on new aural technology and, every so often, when my curiosity becomes strong enough, I’ll buy something. I wonder, too, if I had all the money in the world, what type of audio products I would buy. A $20,000 Volti Audio Vittora speaker system would be nice, but this guy won’t ever be able to afford that. I can dream at least.
Here’s the thing. While my curiosity in sound products is broad in its scope, my purchasing is finely tuned in my price range. In fact, it hinges on a singular brand: Bose. Like I said, I am not an audio snob. I get it, to the finely tuned ear, there are other products that blow Bose out of the water. But for the masses, and a normal guy like me, the Bose brand rules the roost.
There’s good reason for the brand’s success. Bose is dependable. Its speakers sound really great. And there is something really cool about such small speakers knocking out such powerful and room-shaking, awesome sound.
In my own home, I have several Bose products – which I have had for years – that maintain their integrity to this day. Just tonight, I wore my noise cancelling headphones and was pleasantly pleased, as I always am when I use them. And this evening, I’ll fall asleep to music quietly resonating from Wave radio. It’s divine.
You can always rely on Bose
Years ago, I read a book entitled, Winning is an Attitude. The book followed a year in the life of now retired Temple Owl basketball coach, John Chaney. Chaney is one of my heroes. In it, Chaney shared an idea about his expectations as a coach. To paraphrase: “When I press the number five on a cash register, I expect a five to be displayed.” Sure this is a quote was about his players, but it applies to the dependability of Bose as well.
Over the years, when I press a number on the Bose register, the number I have metaphorically pressed is always displayed. And I mean always. My anticipations are always met, and better than that, exceeded. That’s a great place for a brand to reside, and it’s also why any of the Bose-based audio that I own isn’t leaving my side, and ears, anytime soon.
The dependable and durable brand of Bose was last modified: August 9th, 2016 by Tom Dougherty
The winners and losers of Peak TV, and what Apple TV can do about it
We are living in the world of Peak TV, a term coined by FX President John Landgraf a few years ago – and he was right in many ways. We are living in an unprecedented era in which the TV options are more varied, more accessible, better overall and just plain more.
Landgraf coined that term because he believes the industry can’t sustain that kind of production. There are only so many eyes watching screens so how can more than 400 shows exist and networks continue to succeed?
For the first time, networks are taking on the challenges of Peak TV by viewing themselves as brands rather than simply deliverers of content. If you’re just a collection of shows without a guiding principle then you won’t succeed. That’s true in television and it’s true in any business.
How do networks figure out their brand? How does it affect which shows a network airs? And how can brand aid in the battle against (or co-exist with) the streaming giants of Netflix, Amazon and Hulu?
With most of us waiting breathlessly for a groundbreaking Apple TV to fix this problem, what are the networks doing now and what should Apple TV look like? What is the future of Peak TV?
The streaming networks changed everything
Let’s start answering those questions by addressing the elephant in the room: Streaming networks. They have significantly changed the landscape because it took the power from the networks and gave it to viewers. No longer would consumers be beholden to what the networks offered and when they could see shows.
The viewer emerged as the one in control.
Consumer control is now the way of the world. The days of being told that you could only watch a limited offering at a certain time are gone. That is the single biggest reason why the streaming networks have succeeded.
Sure, their offerings have often been stellar. But that’s only a small part of it. Netflix, which started as a mail order DVD rental service, didn’t really take off until it jumped into streaming with content that was early seasons of current and past shows from other networks.
The success of Netflix was in giving customers control, thus positioning TV networks as out of touch and even arrogant. The idea that you could only watch what you wanted under somebody else’s rules created images of TV execs sitting in their offices and smoking cigars like Mr. Potter in It’s a Wonderful Life.
Netflix also structured its services as subscription based instead of on a pay-per-view basis. I’ve always thought that one of the reasons Apple has struggled with its online services is because it is not subscription-based. In music, Pandora and Spotify have overtaken the industry because they’re subscription based. When Apple finally released a subscription-based Apple Music, it was too late. (That and other problems.)
Subscriptions add the illusion of control because, subconsciously, the viewer (and listener) believes they are watching (and listening) for free. When you charge on an individual basis – like what Louis CK did recently with his critically acclaimed series Horace & Pete – many commentators were outraged that the comic would charge per episode. How dare he?
The advantages of being a cable network
Before we go any further, let’s put this out front. We’re not going to examine the broadcast TV networks: NBC, CBS, ABC and FOX. Those networks still air shows that get high ratings and bring in tons of money even if their ratio of failure is enormous. In fact, they are the ones hurting the most from Peak TV.
We’re more interested in the networks that have upped their sophistication, matching the tastes of the television watching public and critical landscape. Let’s focus on the cable networks.
Within them there are subsets. There are the prestige networks like FX and AMC (for my money, the two best networks on TV). Then there are the niche players, ranging from a powerhouse like ESPN to The Food Network, Bravo and Nickelodeon. We’re not going to get much into the niche networks but just note: They should not be ignored. HGTV’s Fixer Upper, for example, is a ratings juggernaut.
A third subset is the premium channels like HBO and Showtime, which have a different delivery and payment system than the rest.
What are the advantages to each? For FX and AMC, they have each created a prestige brand based on the success of its shows. Breaking Bad and Mad Men made AMC. The Shield provided liftoff for FX.
Both networks then became known for high-level, gritty programming that led for FX to roll out Justified, The Americans, Fargo and The People vs. OJ Simpson. All are terrific.
AMC had original programming before the double whammy of Mad Men (July 2007) and Breaking Bad (January 2008) gave it the identity it has now.
What’s interesting about each is that they both started as niche programmers. AMC was the place for cheesy moves from the 70s and 80s. AMC, after all, stands for American Movie Classics. (Although its definition of classic was different than mine.) FX was the place for special effects-laden action movies that had completed their theater and premium channel runs. (The name FX was actually supposed to mean FOX +, of a sort. But the movies they aired suggested otherwise.)
Therefore, each had to overcome pre-conceived notions about themselves.
To do that, each rebranded itself with an actual meaning. AMC rebranded under the theme of “Story Matters Here,” which immediately set it apart from both its past history and other networks. (The less said about its current theme, “Something More,” the better.)
FX added the theme of “There is No Box” (meaning, think outside the box). Soon, the programming each offered fulfilled their promises – that they were different and better.
Could they work as a streaming service? Well, each has a streaming app today and they are two networks that most rely on so-called second-day ratings, meaning viewership measured by DVR recordings, cable on demand and streaming from their apps. Sure, it could work as a streaming service.
But part of the advantage of being on a cable (or satellite) system is increased awareness and brand recognition. You have the ability to promote your new shows during commercial breaks of your current ones. While cutting the chord is becoming increasingly popular, only about one in seven Americans have actually done it.
There’s another advantage that needs to be addressed. The Internet, specifically, the online press. The critical TV landscape changed when some sites, like the now defunct Television Without Pity, began recapping shows that aired the night before. Those recaps started out as funny jibes (the recaps of Survivor on TWP were freakin’ hilarious) but have now become serious journalism.
Any website that covers TV in some fashion now has re-cappers – and that includes The New York Times.
While those re-cappers do write about the streaming shows from Netflix, Hulu and Amazon (AV Club is probably the most robust of them all), it’s what has aired to the nation the night before that gets the most ink and attention. There’s a different immediacy when recapping the day after most viewers have watched that program.
In the age of Peak TV (or, as Hollywood Reporter critic Tim Goodman rephrased it, “Too Much TV”), generating that kind of chatter and momentum puts you in the current zeitgeist. Google how many sites are still trying to find ways to recap Game of Thrones weeks after the last episode of Season 6 and you’ll get my point.
The premium channels
The dominant premium channels are HBO and Showtime, with subsets also succeeding (Cinemax, owned by HBO, and Starz). Their advantage is that they are compensated directly from the cable subscriber, a kind of Netflix with a middle man (the cable system) and a regular programming lineup.
Considering what we have examined before, premium channels would seem to have the best of both worlds. You have subscribers (like Netflix, Hulu and Amazon). You have the advantages of being on air (like FX and AMC). And, in the case of HBO, you also have a standalone streaming service available without a cable subscription.
The HBO model is the best in the industry, but you’ve got to wonder. In this era of Peak TV, does the future of HBO really look that bright?
I’d say yes because HBO built its business on the shoulders of the best brand in the business. “It’s Not TV. It’s HBO” was brilliant. It was a stronger version of AMC’s “Stories Matter Here” because it more clearly explained that HBO was different and better.
It also gave the network brand permission to do anything. It could do drama, comedy, documentary (it has the best documentary division on TV), comedy specials and movies. HBO is so good at branding that its theme for HBO GO, “It’s HBO. Anywhere” speaks to the control issue that streaming currently owns.
HBO has a model to follow, but there is another issue to consider.
The relationship between content and brand
As part of our brand relaunch process, we do a brand audit. This exercise looks at everything the brand does, both physically and emotionally, so we can be sure the brand can fulfill the promise. One of the values we examine is brand-product relationships. Do the products themselves follow the brand?
For example, if the brand promise is about simplicity, do the products of the brand make things simpler for its customers? If they don’t, we tell the company that they shouldn’t create that product because the brand will become less believable. Do it only if it fulfills the promise.
How do the current networks stack up?
The interesting one for me here is AMC. “Story Matters Here” has directed the network to develop a menu of tough, interesting dramas. They may be of varied quality, but there’s no doubt that Preacher, Hell on Wheels, The Walking Dead, Better Call Saul, The Night Manager and Turn came from the same network. That’s not say they have the same style or storytelling angle, but that they fulfill the brand promise.
It’s when they networks away from their promise (if they even have one) when they struggle. For example, what does A&E stand for? Who is the A&E viewer? A&E stands for Arts & Entertainment, although the network has long dropped that association.
It has the successful Duck Dynasty (although it’s not as successful as it once was), but its lineup is littered with The Wahlburgers, Escaping Polygamy, Storage Wars and Bates Motel. The problem A&E has is that it doesn’t have a brand promise that can direct its programming. With that lineup, I don’t even know what that promise would be. This is a network in dire need of a rebrand.
Here’s what we know. Streaming networks have given back control to the viewer and probably started Peak TV in the process. Sophistication is in (even in comedy). And having a brand promise that is fulfilled by your programming is the road to success.
Visibility and preference win the day.
In reality, the way to create a successful network is the same process in creating a successful brand. You find the value that has the highest emotional intensity in the market (through quantitative research) and align your brand with that intensity.
The streaming services have done so well because their own models are aligned with a belief that had been increasing in intensity ever since Apple introduced the iPod: I believe things turn out better when I’m in control. That intensity has gotten stronger in the era of Peak TV.
The one thing missing in the TV landscape is a focused brand promise that is clearly stated and differentiating. Even with the positions of HBO and AMC standing tall, no one has clearly stated who the viewer is when they are watching that network.
Let’s make an assumption. Let’s pretend quantitative research demonstrated that the highest emotional intensity among viewers was the difficulty that FX President John Landgraf stated. That Peak TV means there’s too much good TV.
So how does Apple TV (or something like it) capitalize and align itself with that belief? Since we’ve been waiting years for Apple to fulfill the deathbed promise of Steve Jobs that he had “figured out TV,” we’re going to state what Apple TV should be.
It should be a portal that allows you to build your own network. Apple collects all the access to your channels and develops your own, customized network where you add shows and requests in one place. I’m not just talking about shows that appear on your cable system. It would include Netflix, Amazon and Hulu. That is, you would build your network with streaming networks, cable networks, premium channels and broadcast networks combined into one portal.
This may sound like something similar to a DVR, but not if you had the ability to have one search engine, program your networks, categorize your shows and, mostly importantly, see yourself in the brand itself.
You simply tell Apple TV (through Siri, I imagine) what you want to watch now and in the future, and it pulls it up in an interface that you control and program.
Apple CEO Tim Cook said the future of TV is apps. It’s in simplicity because right now (according to our imaginary research) viewers are overwhelmed with choices and have no easy way to navigate it all from all the sources at their disposal.
Our brand promise is that we make Peak TV watching simple because it’s the smart thing to do.
We have a brand promise and have given control to the viewer. It’s a demonstration of the way to win in today’s current TV landscape: To have a clearly defined brand. Without it, you are A&E.
In a way, I think that’s the problem the broadcast networks are having. The definitions of what describes NBC over CBS or any of the others are blurred, and often defined by on-air personalities. CBS probably has the best brand in the market but that’s mostly because it has procedurals that have many variations (such as the CSI and Law & Order series) and appeal to an older demographic.
We leave you with this. The most interesting broadcast network TV show of the last decade was Hannibal, a dreamlike expression of evil that was gorgeous and disturbing – and canceled after two seasons. It should have been a gigantic hit. But it aired on NBC and nothing about NBC’s brand gave it permission to run Hannibal. Viewers, therefore, were sure that Hannibal was a failure without seeing a frame of it.
If Hannibal had been on AMC, FX or HBO, I believe it would have been a smash.
Brand is the key to success for any business. It’s just as important in Landgraf’s Peak TV.
A market study in the era of Peak TV was last modified: July 12th, 2016 by Tom Dougherty
It took me a bit of time to jump on board and call myself a fan. That’s not something I do willingly of music — in fact, I try to find what I dislike about music first and then work from there. Turns out, there isn’t much to dislike that Radiohead does or to be snarky about. These guys are just good.
I first took note of this around the year 2000. My son, whose favorite album ever is Radiohead’s OK Computer, was feverishly anticipating their follow up, Kid A. He’d read any music rag he could put his hands on that would give him a glimpse into what that album was going to sound like. He was a total fanboy.
Around this time, Time magazine put an article out about the band that I shared with my son. There was a bit from the write-up that I never forgot and gave me the utmost respect for Radiohead, which read something like: “They are not afraid to try something completely new and fail at it.”
To a brand guy, words like that screamed at me to “pay attention to this band!”
Radiohead is world class at being a band and using guerrilla marketing.
I could write a book about everything I love about Radiohead’s music, including their latest single, “Burn the Witch.” But that’s not my specialty. My forte is brand.
Turns out, I respect the way Radiohead promotes material just as much as I do the material.
Take when they released the beautiful In Rainbows. It was “pay what you want” for anyone who purchased it digitally (now a trend in the industry). A remarkable leap of faith.
Or its tactic with the release of the newest single, “Burn the Witch.” The band wiped away its internet presence. It sent out mysterious leaflets that read, “Sing the Song of Sixpence that Goes…Burn the Witch… We Know Where You Live” to UK based fans. The images on the leaflet were avant-garde and just curious enough. Then they posted the song on YouTube and Spotify.
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