Unlock the Power of 352: Reach Consumers Exactly When They’re Looking

Did you know we check our phones on average 352 times a day? Think about it. 352 times. That’s the eye-popping number of times a day the average American checks their phone – according to a recent Asurion study. That’s more interactions with a glowing rectangle than we have with our loved ones, our hobbies, or even ourselves! At Ifodige, we get it. Smartphones are our lifeline to the digital world, a constant companion for work, entertainment, and connection. But with so much vying for our attention, how can advertisers stand out in this mobile-obsessed world? The answer lies in understanding the power of those 352 moments. Each phone check is a micro-opportunity to engage, inform, and inspire. Here’s how Ifodige can help you seize those precious moments: Don’t let your message get lost in the shuffle. Partner with Ifodige to create mobile advertising that breaks through the noise and captures the attention of today’s hyper-connected consumers. Because in a world of 352 moments, every one counts. Email: info@ifodige.com Phone: (717) IFODIGE (436-3443)

Growing Consumer and Business Interest in the Metaverse Expected to Fuel Trillion Dollar Opportunity for Commerce, Accenture Finds

Consumers eager to become active users of the metaverse and show high interest in problem-solving experiences related to fitness, retail, healthcare, travel and media Growing consumer and business interest in the metaverse as a creator economy and tool to enhance day-to-day tasks is expected to fuel a $1 trillion commerce opportunity by the end of 2025, according to findings Accenture released at the Consumer Electronics Show (CES) in Las Vegas. According to the research, more than half (55%) of the roughly 9,000 consumers surveyed see the metaverse as a business opportunity for creating and monetizing content. Most (89%) C-suite executives also believe the metaverse will have an important role in their organization’s future growth, according to a parallel survey of 3,200 C-suite executives. The findings estimate 4.2% of company revenues, or a total of $1 trillion, could come from metaverse experiences and commerce by the end of 2025. The findings indicate 55% of consumers want to be active users of the metaverse and nearly all of them (90%) want to do so in the next year. The top features consumers want are easy-to-use interfaces (cited by 70%) and access to a wide variety of applications (68%), which outperformed more “form” features, such as flashy headsets (55%) and the ability to personalize avatars (55%).  While gaming is appealing for 59% of metaverse users, only 4% of consumers see the metaverse as just a gaming platform. In fact, 70% say they intend to use the metaverse to access products and services across media and entertainment, fitness, retail, travel and healthcare. These preferences vary by age, with younger consumers more interested in media and fitness and those older in accessing health services in new ways. Still, what all have in common is a desire to enhance the things they already do every day, such as the experience of working-out at home (cited by 60%) or improving interactions with health professionals (55%). To fully capture the opportunity, businesses should be strategic about business model changes being enabled by the metaverse while engaging with all stakeholders to inform the experiences they create: 

For Restaurants, Digital Channels Are Menu Must-Haves

The restaurant industry has gradually changed to meet customer expectations for convenient, seamless experiences. Then the pandemic hit, and this gradual shift drastically accelerated. Restaurants of all types had to embrace delivery and takeout because health concerns and lockdowns made sit-down dining impossible or undesirable. Digital sales channels, therefore, became essential to restaurants. Even as the worst of the pandemic winds down, the changes it wrought on restaurants will remain. Consumers are more accustomed to and desire digital methods when deciding where to eat and how to order and pay for meals than before the pandemic. The shift has been so profound that digital ordering and payment options are now central to the restaurant industry. In the July edition of the “Order To Eat Tracker®,” PYMNTS explores how consumers’ digital preferences are changing the restaurant industry. Around the Order to Eat Space According to a report from DoorDash, delivery and takeout are as popular as ever. The report found that, compared to 2021, 86% of consumers reported ordering takeout or pickup as much or more this year. For delivery, the share dropped slightly to 83%. The report also found that digital ordering methods were becoming more popular, with the share of consumers using delivery apps, such as DoorDash or Uber Eats, rising from 15% to 24%. A similar rise occurred in the use of restaurant websites, while the portion of consumers calling in an order dropped from 29% to 10%. As digital ordering becomes more popular, restaurants are experimenting with novel ordering methods. Taco Bell, for example, recently opened a location in Brooklyn Park, Minnesota, that overhauled the drive-thru experience. Called Taco Bell Defy, this Taco Bell’s drive-thru has four lanes, two stories and vertical lifts to bring orders from the kitchen to the customers waiting below. The goal is to decrease service times and provide customers with a seamless, convenient ordering experience. For more on these and other stories, visit the Tracker’s News and Trends section. Pizza Guys on Why Digital Ordering Is No Longer Just an ‘Option’ With more consumers seeking out online ordering and payment methods, digital channels have gone from being optional to mandatory for restaurants, according to Michael Morgan, vice president of operations at Pizza Guys. In this month’s Feature Story, Morgan explains how his company has navigated this digital transformation and how Pizza Guys is meeting customer expectations through its ordering and payment options. Payment and Ordering Options Are Key to Customer Satisfaction The disruptions caused by the pandemic and the overall growth of technology are transforming the restaurant industry. Although the pandemic has impacted all aspects of the restaurant experience, it has affected the ordering and payment experience in particular. Digital ordering, for example, is now immensely popular, with 57% of consumers preferring to order takeout or delivery through a digital app. In terms of payments, a growing number of consumers prefer a contactless or digital payment method to a physical one. Shifts like these mean that restaurants must embrace digital solutions to meet customer expectations. This month’s PYMNTS Intelligence explores how a restaurant’s payment and ordering methods are key to customer satisfaction.

Diverse Audiences Driving OTT Usage & Viewing

By George Winslow  Accounting for over 40% of homes consuming OTT content on CTVs, “diverse audiences represent a huge force and key driver of overall streaming growth,” Comscore said NEW YORK—New research from Comscore is highlighting a long-overlooked trend, namely the important role that diverse audiences from the African-American, Hispanic, Asian, and Native American communities are playing in driving rapid growth in streaming and OTT video consumption.  New Comscore data shows that those diverse audiences accounted for 41% of the U.S. homes viewing OTT content on connected TV devices, making them “a huge force and key driver of overall streaming growth,” the report concludes. The researchers also stressed that “diverse segment’s adoption of streaming content is outpacing the average, especially among African-American, Hispanic, and American Indians.” The data is particularly notable given the long-standing difficulties many members of those communities have in getting access to high-speed broadband and other digital services.  Comscore used data from March 2019 to March 2022 to analyze the impact of diverse audiences on OTT viewing.   During this time period, African American OTT households increased 35%, Hispanic OTT homes increased 41%, Asian OTT homes increased 69%, and American Indian OTT homes increased 66%.  Diverse audiences also increased their share of WiFi homes watching OTT from 24.7 million homes (39% of all OTT homes) in 2019 to 34.6 million (41% of all OTT homes in the U.S.) in March of 2022. When it comes to OTT hours watched per household, African Americans saw a 66% increase between March 2019 and March 2022, and American Indians increased their OTT viewing by 88% during this time period, a much faster growth than the 34% increase in OTT viewing for the whole of the U.S. In March 2022, African Americans watched 163 hours of OTT content versus 122 hours for the nation as a whole, while Hispanic households viewed 133 hours. In terms of streaming services African-American households are using 6.3 streaming services—more than the national average of 5.4 services—and Hispanic households are using slightly above average at 5.6 services. Asian households under indexed the national average, however, with 4.9 services.


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Digital Ad Spending

You may not be utilizing digital ads in 2020, but we can guarantee you that your competitors are! Experts expect digital ad spending to increase by an astonishing $75 billion within the next two years!  Businesses are starting to understand the value of digital ads, and those who don’t will ultimately be left behind.  The best advertisers are able to connect with their potential buyers every single day, and the BEST way to do this is through digital marketing. Don’t be afraid to pump some extra cash into your digital ads, it’ll boost your reach and ensure your content is hitting the right audience. Henry Ford once said, “A man who stops advertising to save money is like a man who stops a clock to save time.” #noshortcuts

TikTok Is Growing Up, and So Are Its Users

More millennials are finding their way to the Gen Z-dominated app ByScott Nover Key Insights: TikTok generated “the most downloads for any app ever in a quarter” in Q1 2020. Buyers say TikTok doesn’t allow for much targeting, so an expanded user base presents some challenges. Musical.ly first made a splash in The New York Times in August 2016, months before Donald Trump’s presidency began and years before the Covid-19 pandemic was even a glimmer on the horizon. At the time, Alex Zhu, co-founder of the Chinese app for user-generated short-form music videos, told the Times that China’s “closed environment” was tough to break into—and he much preferred the American teen demographic, which he called a “golden audience.” It was also two years before Musical.ly merged with TikTok, forming the modern version of the app used by millions around the world every day. In just a few short years, TikTok’s popularity exploded among young people in America and around the world. But the coronavirus pandemic has expanded its user base, moving it further away from the teen contingent it’s long offered to advertisers. Quarantine has been good for business TikTok does not release user data, but outside firms that analyze the platform’s audience report its user base has grown substantially amid the pandemic. Among U.S. users 18 and older, TikTok brought in 22.2 million mobile unique visitors in January, 23.2 million in February and 28.8 million in March. In April, that number skyrocketed to 39.2 million—three times the 12.6 million who used the app last April, according to the most recent Comscore data provided to Adweek. TikTok beat records for mobile downloads, according to the app analytics firm Sensor Tower, which found that in the first quarter of 2020, the platform “generated the most downloads for any app ever in a quarter,” with more than 315 million installs globally across the App Store and Google Play. But, TikTok’s growth in the U.S. during quarantine has also come with a caveat: New data shows that millennials are making up a greater share of TikTok’s user base than ever before. Why? Because, like the American teens of Zhu’s original target demo, many older people are finding they have extra time on their hands. According to Comscore, which only tracks users 18 and over, the percentage of U.S.-based TikTok users age 18-24 fell from 41.1% in January to 35.3% in April, a 5.8% drop. During that same time period, the share of 25- to 34-year-olds rose from 22.4% to 27.4%, and the 35-44 demographic grew from 13.9% to 17.1%. It’s not that younger people aren’t still a huge part of TikTok’s business—between January and April, the 18-24 demo grew from 9 million to nearly 14 million unique visitors—it’s just that the millennial age brackets are growing at a faster rate during quarantine. There were fewer than 5 million Americans ages 25-34 on the app in January. In April, there were nearly 11 million. Meanwhile, older demographics (45-54 and 60+) saw mostly stable growth, but 55-64 year olds dropped off by 2% of TikTok’s composition between January and April. Those who work closely with TikTok’s platform told Adweek they have noticed the growth in non-teen demographics. “Not only are people using it more because it’s fresh, but because people now actually have time to sit and watch things on their phone and have time left to create content,” said Alex Devlin, a WME talent agent who represents TikTok influencers including Addison Rae. “People are trapped inside their homes all day with their families, so this gives them something fun to do together.” More than 30 million people have lost their jobs due to the economic scourge wrought by the pandemic, and many more are working from home during this time. Without commuting times and supervisors peering over shoulders at screens, many people have the time and space to explore TikTok. Will more millennials mean fewer Gen Z users? Laura Perez, a spokesperson for TikTok, declined to discuss how its audience is changing, but noted that users may be turning to the platform for “positivity and levity.” “There is a lot of inspiring, uplifting and educational content coming from users of all ages, including grandparents, college students, parents and families,” Perez said. “We’re seeing multiple generations in families creating videos together as bonding time while they’re all at home together.” Some media buyers and marketers don’t know what to make of TikTok’s estimated change in demographic, what it means for the long term, and if this growth could ultimately present obstacles for the platform. “It might be the best thing [for the platform] because they’re getting such a broader audience, but millennials might kill TikTok for Gen Z—because as soon as millennials get onboard, Gen Z is over it,” said Melanie Nelson, associate director at The Media Kitchen, a media planning and buying agency. Nelson said it’ll be interesting to see how TikTok keeps both audiences engaged, noting that Instagram weathered a similar challenge particularly well as its audience has expanded. Alessandro Bogliari, founder and CEO of The Influencer Marketing Factory, agreed that shifting demographics can have tenuous effects on the health of the platform as it matures. “The only thing I’m sometimes afraid of is that Gen Z might not find it cool anymore and might abandon it,” he said. “If millennials and Gen X and boomers get on, is this going to transform it into Facebook?” Once upon a time, he said, he used Facebook for everything—now, he mainly uses it for birthdays. He also feels the platform is oversaturated with new creators, but thinks the surge of content will level off when quarantine lifts. The influx of non-teen users also makes TikTok a more challenging place for marketers to target their ads and influencer campaigns. “Targeting is still fairly limited on TikTok, so as the audience becomes more diverse, you can open yourself up to a lot of waste,” Nelson said. “We’ve also seen TikTok increase their prices pretty substantially quarter over quarter, which makes total sense.

What Type Of Ads Should You Be Running Now?

 Radio Ink -March 29, 2020 (By Jamie Aplin) I’m so surprised that we’re still hearing ads on the radio promoting a businesses product or service. But wait, isn’t that precisely what radio ads should be doing? Typically, yes. But that all changed the day a world wide pandemic was announced. That was the day your typical car dealer ad, declaring zero percent financing should have been tossed out the window and replaced with an ad that resonates with our current reality. This is not the appropriate time to promote your 50 percent off store-wide sale. If your advertisers continue to air commercials like this (or just don’t change anything) they unfortunately will be remembered as irrelevant and incentive once we come out on the other side of this. Just like social distancing, changing your client’s message isn’t a choice – it’s imperative. Ok. I’ve made my case and you’re hopefully convinced. Now what? How do I craft an authentic, genuine advertising message that will be received with open arms during these challenging times? Here are a few ideas to get you moving and it all starts with a phone call to your client. Ask them questions about the origins of the business. If it’s a family owned operation, this approach should work really well. Have them recall some happy memories or reflective thoughts on days past. Write down everything and then craft a message that shows a approachable, human side to their business. It’s ok to be vulnerable. Customers WILL response to this.  Maybe not right away, but eventually. Have them recall a time of crisis that they personally endured or perhaps something the local community has recently faced. How did they get through it? What were the positives that rose to the top after it was all said and done? Reminding your customers that we have gone through crisis before and came out stronger because of it, will be a message that resonates and encourages. And that’s what we need most right now. If your client runs a product based business, it might be more difficult to use either of the approaches. In that case, you might need to convince them that this just isn’t the time to promote their product. I’m not advising you stop running their ads, I’m suggesting they use this time to simply say thank you. It could be a thank you to their customers, community and friends for the support they’ve given throughout the years. Or it could be a thank you to all front-line healthcare workers who are tirelessly fighting this battle on our behalf. Either way, using 30 seconds to simply say thank you during this difficult time will never go unnoticed. The bottom line is this: Advertising is all about establishing and maintaining a bond with your (potential) customer. That bond is based upon emotion, not information. And during a time of crisis, emotions run very high. This means your client has an opportunity to speak to those emotions and connect with their customer on a deeper level. Encourage your advertisers to use this time wisely and help them show a side of their business that wouldn’t normally be seen. If you are seeking direction as to which advertising outlets can best help you grow your business, Ifodige Productions Inc. will provide you with a free 30 minute consultation. CONTACT US TODAY!

How a Hit Happens Now

The most influential playlist in music is Spotify’s RapCaviar, which turns mixtape rappers into megastars. And it’s all curated by one man. By Craig Marks In this, the year hip-hop won the music business, one of its defining hits was released more or less by mistake. Back in February, Lil Uzi Vert, a charismatic, septum-pierced 23-year-old rapper out of Philadelphia who’d become internet famous with a frenetic outpouring of digital singles, EPs, and mixtapes, was on his first tour of Europe, opening a string of shows for the Weeknd. Uzi, who counts late nihilist punk GG Allin and ’90s shock-rocker Marilyn Manson as heroes, dove into the crowd during a gig in Geneva. Backstage after the set, he realized he’d lost his phone during the plunge. “He lost two phones, actually,” says Leighton “Lake” Morrison, one of the principals, along with veteran producers Don Cannon and DJ Drama, of Uzi’s Atlanta-based label, Generation Now. “And he’d broke the screen on a third.” Prior to Europe, Uzi and his team had been in L.A. and Hawaii, working on tracks for his first official album, to be released on Generation Now through Atlantic Records. The songs they’d finished were on one of the lost phones. “Yeah, I was upset,” says Morrison. “We’d just spent a month and half recording in Hawaii, and I had to justify all this money Atlantic had given us that we’d just blown.” Uzi had lost a phone in 2016 that contained some new collaborations with fellow mumble-rap fashion plate Young Thug, and those were soon leaked on the internet. “We didn’t want to go through that again.” In this new digital era of music consumption, brought about by streaming services such as Spotify and Apple Music, many hip-hop artists have rejected the traditional blueprint for releasing new music, which mimicked Hollywood’s rollout of a blockbuster film: a lavish, many-months-in-the-making marketing campaign, led by one or two radio-friendly singles designed to create maximum exposure for a record company’s big moneymaker, a proper studio album. Streaming is built on a song-based economy, though, and young MCs like Uzi are too savvy and restless to play by the old rules: They spray-hose new tracks when the mood strikes, and fans binge the content like couch-bound Netflix addicts inhaling new episodes of Black Mirror. “Hip-hop artists have liberated themselves from the shackles of the album,” says Lyor Cohen, co-founder of pioneering rap label Def Jam and now YouTube’s global head of music. “The album is far less important than just putting out music.” That night in Geneva, Uzi wasn’t thinking about upending the norms of distribution. In the three years since he uploaded his first song onto the DIY streaming platform SoundCloud, he’d collaborated with everyone from Gucci Mane to Pharrell, built a 4-million-plus Instagram following, and racked up a Billboard Hot 100 No. 1 record with his featured verse on Migos’s viral smash “Bad and Boujee.” “Streaming has definitely made me money,” says Uzi. “It’s a whole other way to put your music out there.” Back at his hotel, he reached for his laptop and logged onto his SoundCloud account. Minutes later, he texted Morrison in Atlanta. “I just leaked everything I recorded,” he wrote. “There wasn’t even any artwork,” shrugs Lake. Uzi made up song titles on the spot. He called one “Boring Shit.” And another was hurriedly named after the Weeknd tour, carrying not even a hint of the song’s content in its title. “XO Tour Llif3,” a gothic, Sturm und Drang–filled relationship saga about his then-girlfriend Brittany Byrd (and drugs) that features the sticky, none-more-black refrain “All my friends are dead / Push me to the edge,” became an immediate sensation among the fevered rap nerds on SoundCloud. One month later, after Generation Now had sorted out producer credits, it was added to Spotify and Apple Music. There too, the response was instantaneous and overwhelming. Spotify’s Tuma Basa, the curator of streaming’s most important playlist, RapCaviar, with 7.6 million followers, says approvingly that when he listens to “XO Tour Llif3,” he imagines “Kurt Cobain and Courtney Love arguing. He’s telling a story. Guys like Uzi keep me excited about this shit.” Still, few could have predicted that Uzi’s warbled soap opera would eventually be voted Song of the Summer at the 2017 VMAs. “I couldn’t have planned it any better if I’d tried,” says Julie Greenwald, co-chairman and COO of Atlantic. “XO Tour Llif3” also made history on the May 6 Billboard Hot 100 as one of five hip-hop songs in the top 10, only the second time that Billboard’s preeminent chart featured five rap songs (Kendrick Lamar’s “Humble” was No. 1; Lamar’s “DNA” No. 4; Future’s “Mask Off” was No. 5; Kyle’s “iSpy” featuring Lil Yachty No. 6; and “XO Your Llif3” No. 10). Strikingly, these songs were getting little to no airplay on the nation’s hit-driven radio stations, traditionally, along with sales, the most powerful factor in determining a song’s Hot 100 placement. “Let’s be honest,” says a top major-label executive: “No cool kid is listening to top 40 radio.” Instead, those kids are glued to streaming services. Spotify, which launched in the U.S. in 2011, may be the most effective and efficient new platform to promote and monetize recorded music since the advent of MTV in the early 1980s. Adding users by the millions every month, it now claims 60 million subscribers and 140 million overall users. Spotify and Apple Music (which has around 27 million subscribers), along with YouTube, Pandora, Amazon Prime Music, SoundCloud, and the Jay-Z–backed Tidal, have propelled the recorded-music industry, in wreckage since the launch of the file-sharing service Napster in 1999, to double-digit revenue growth for the first time since — you guessed it — 1998. In 2016, revenue generated from streaming services grew 69 percent year over year, to $3.9 billion; for the first time, streaming accounted for more than half of all recorded-music-industry revenue. And in numbers that sometimes strain belief, users are opening their Spotify or Apple Music apps and streaming hip-hop and R&B

U2 Launching New Album Using Alexa?!

By: Radio Ink The world of digital continues to edge in on radio’s space. iHeartMedia has really taken advantage of the company’s scale in recent years by teaming with artists and launching their new songs – and playing the daylights out of them – sometimes for an entire day at the top of every hour. Now, it’s Jeff Bezos’ team taking advantage of Amazon’s scale, and using Alexa to do the same for U2. U2 is releasing its new album called Songs of Experience this Friday. Amazon is calling what happens today through that launch, ‘ a new kind of radio.’ Historical music, live performances, interviews and exclusive new content will take place on Amazon starting tonight at 6 p.m. EST and will be available to Amazon Music account holders via multiple platforms. Amazon Prime members and Amazon Music Unlimited subscribers can access the special programming through Alexa by saying, “Alexa, play The U2 Experience.” An Amazon press release said, “The U2 Experience” features a chronology of the band’s career, including commentary surrounding the significance behind iconic songs and legendary stories from the road, as told through live broadcast interviews. Some of the band’s biggest hits are also included, along with live recordings of songs from “The Joshua Tree” and “Songs of Experience,” recorded during “The Joshua Tree Tour 2017.” Amazon Music’s global head of programming Alex Luke interviewed band members during their tour in Sao Paolo, Brazil this Fall.