Positioning Matrix: Lifestyle, Pain, Brand, Product, or Features

What do you want to be, in your customers perspective? Consider your options, choose a position and a direction.

Amplify’d from www.web-strategist.com
Positioning Level Description When to use Drawbacks
Lifestyle An effort positioned at the the desires and experiences in the buyers life –not connected to products Works well in regulated industries (Wells Fargo, Amex, have deployed in this way), or companies who sell component products. Great for deploying at a new market when you’re trying to introduce a new concept or offering. Also strong at clinching competitive marketing space. While an ‘associative’ effort it may not be closely tied to the products and not drive prospects down the marketing funnel.
Pain Point Focusing on the trials, tribulations, and pain in a buyers life or work. It’s key to pointing out to customers the challenges that may exist in their life, then quickly move into product positioning.  Use this to connect to a prospect in the wider mouth of the marketing funnel, this is often a first hook. If a company only positions against pain they may not move customers down the funnel, quickly follow up with value statement and product introduction.
Brand Positioning directly on a company’s brand, much how Coke does it. A company that has an existing, established, brand promise can lean on this reputation as a standing point.  Standing on a brand promise –and the associated tagline –works well in reputation driven industries. Positioning against brand works for Coke and Pepsi, but it’s required millions over decades to have this level of recognition –most cannot hinge entire effort on this level
Product Focusing on the product itself, such as discussing a new car –but not it’s features. Use when your brand is established and releasing a new product set, use this level to sub segment into a new product category. Many tech vendors that brief me start at this level but forget to focus on ‘why’ this product exists as they’ve built a company around a technology –instead of around a customer need
Features Focusing on features such as speeds and feeds, this positioning competes at sub product level. Used to compare in a crowded market when there are established players and little deviation at brand or product level.  Often used in consideration and buy stage of a product. This is granular and may not be effective in new markets, or markets where consumers only care about the outcome of buying the product.

Use this Framework

  • Use value statements in your positioning –at each level. Positioning at each level still requires a value statement that answers “What’s in it for me?” for example, lifestyle is the opportunity to connect, gauge, or interface with peers.
  • Use all levels in a coordinated effort.  This framework isn’t about using only one level at a time, but the sophisticated marketer will deploy all levels and know how to amp up one of the other at the right moment.
  • Funnel your prospects through the phases. The savvy will know how to shift prospects to the various levels at the right moment, and customers will arrive into the marketing funnel at different levels –know how to advance them to the right level at the right time.

Read more at www.web-strategist.com

 

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Not all fans are created equal

Consider the 100 True Fans that Kevin Kelly so famously coined, there’s a whole variety of fan-types out there. Don’t mix them up!

Amplify’d from www.musicthinktank.com
‘Fan’ is a metric of measurement of a persons dedication to your music.

The Friend

Lets get something straight: a friend can certainly become a fan, but is not by any means, an inherent fan.

When any artist first begins creating their music, the friends are the initial support system: looked to for feedback, to attend the first shows, to help spread the word, etc. And in most cases, friends are more than happy to do these things. But ultimately, these people are supporting YOU because you are a friend, and not necessarily supporting your music as a fan.

The Bandwagon Fan

Bandwagon-ers are those who join into a fan base simply because it is the popular thing to do. Often doing more speaking than anyone else, many bandwagon fans will be the loudest in the room, trying to prove that they belong. While this sounds great, these fans are ultimately less interested in you and your music than they are the other fans and their own sense of belonging.

These are short-term fans who will add little value to your fan base and unfortunately will most likely disappear as quickly as they came.

The Listener

These are passive fans that they will enjoy the music as others share it or post it to their blogs, but ultimately won’t take the action needed to seek out and listen to the music on their own time.

Don’t misinterpret these fans though, as The Listener is truly the lowest level of fan that you do want to put your effort into. With a little effort, a listener will most likely become a hobbyist.

The Hobbyist

Unlike Listeners, The Hobbyist fans are actively seeking new music from new and existing artists. These are fans who may have stumbled upon a song they liked and decided to look into the band a little further. However, for the most part, this research is done just to find a place to stream music or download music for free.

The lack of willingness to purchase music right now is because these fans are still unsure about the need to experience the music on a long term…

The Committed

The Committed fan is someone who buys all of the music and sees the artist/ band perform when they come to town. These are fans who will engage with artists on a regular basis through social media and will sign up for the official mailing list just so they can remain up to date on any and all news.

These are the fans that can be counted on to check out and even share blog articles, youtube videos and even tweets. Typically fans that are committed to your music will be similarly committed to another artist as well and it will show through their Facebook and Twitter updates. In other words, these fans should be highly valued and time should be spent creating real relationships, as these are the fans who will likely convert their friends to become fans as well.

The Superfan

The Superfan is the golden egg. These are the fans that can launch a career. A Superfan will buy an album, then buy it again when a special edition is released. A Superfan won’t just go to a show, they go to as many as they can. A Superfan is beyond a dedicated fan- they have established an emotional connection so strong with the music that it becomes a piece of who they are.

Superfans take their fandom to the streets, and are the best candidates for street team and tribe members. If you find yourself with a Superfan who is almost religiously following you and/or your music, do absolutely everything you can to empower them to continue to build your fan base for you. These are the fans you WANT to give exclusive music, behind the scenes videos, backstage access, etc. as they will be the most likely to reverberate any value you give to them back to the rest of the fan base. 

Read more at www.musicthinktank.com

 

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Thinking about using Kickstarter to fund your album?

Here are some thoughts to work on beforehand.

Amplify’d from www.hypebot.com

image from blog.eliotsykes.com Recently, I spoke with Yancey Strickler, who is the co-founder of Kickstarter, a crowdfunding platform for creativity. In this interview, Strickler talks about moving past a one-size fits all model for financing creativity, how pull marketing models relate to Kickstarter, and why fan-funding encourages fans to become more active particiapants in their cultural lives.

On Kickstarter there’s no one to satisfy except your fans.

Yancey Strickler: The biggest differences are in who controls the relationship. Labels, studios, publishers, etc have always shielded artists from the public, but we’ve now reached a moment where that fan relationship is every artist’s most important asset. Relationships can’t be pirated, and neither can the shared experiences that come with them. A Kickstarter project hones those interactions.

Artists and fans have always had relationships, of course. The difference now is that the relationship is being pushed further up the pipe. Rather than waiting until the album is out and the tour is in full swing to engage, it’s now in everyone’s best interests to interact from the get-go. Don’t wait until the thing is out to build an audience. Do it constantly and directly. Invite people to participate as much as you feel comfortable. If you’re lucky enough to have an audience that deeply cares about your work, reward them! Bring them closer, make them part of the process, think like a fan.

How does crowdfunding encourage fans to become more active participants in their cultural lives and does it serve to more closely connect fans to the material processes of arts creation? 

Yancey Strickler: The web has been steadily pulling us toward an author-less society. We don’t think of culture as being created, we think of it as being ubiquitous. It just exists, and it diminishes the importance of the source material. As great as the latest animated GIF meme might be, it wouldn’t exist without that primary recorded action. This is something we often forget. We need to reattach art to its author. Without it we feel entitled to everything — piracy increases and our respect for the creative process diminishes. We need to remember that art comes from people. It’s not an algorithm, it’s not magically generated in the cloud. It originates from people like us. 

What are the essential elements of contribution tiers?

Yancey Strickler: Rewards are very important. On Kickstarter they loosely breakdown into four types: 

1) Presell the thing. Someone raises money to make a record; you get a copy when it’s done.

2) Limited Editions. First 100 copies of the deluxe vinyl are individually numbered and personally signed.

3) Sharing the story. Here’s a token that demonstrates your involvement in the project and my appreciation for it. Think Polaroids from the studio, old guitar strings, etc.

4) Creative experiences. Bring someone into the process itself. “This track needs handclaps — come in the studio and provide them.”

Read more at www.hypebot.com

 

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