How Brick-and-Mortar Stores Can Compete with Local SEO

John Antioco and his leadership team had been made fully aware of the Asteroid, but it was quickly dismissed as yet another shooting star. Don’t be a meteor-gazing dinosaur on doomsday. A glass half full While the advertising industry is knee-deep in trouble, it’s not just doom and gloom. There’s another side to the story. A 2017 study from Kantar Millward Brown 

found that 77% of both Generation Z (born 1996 or later) and millennials (born between 1981 and 1995) are positive to ads that show real people in real settings.7 Both segments also had more positive attitudes toward selected types of branded digital content: tutorials, social media feeds, sponsored events, advertorial, and other types of sponsored content. The study 

found that Generation Z members were not as interested in ads that featured celebrities, but receptive to ads that told an interesting story (56%), with humor (72%) and great music (58%). See, consumers, especially Generation Z and millennials (two segments that brands can’t seem to figure out), actually have a really positive sentiment toward advertising that 

understands their point of view

and when you achieve that, you have the opportunity to win big. In fact, when consumer insights company Toluna Group interviewed 898 consumers (for their 2019 D2C Survey8 ) that recently had purchased a product online from a direct-to-consumer brand, they found that 34.6% first discovered the brand through an ad on social media. And finally, a full 44.7% of 

US Internet users between ages 18 and 34 say that they have bought a product/service recommended by an online influencer on YouTube or Instagram.9 In 2019, for the first time, US consumers will spend more time with their mobile devices than they do watching TV, more than 3.5 hours per day, on average.10 And while most of Gen Z or millennials won’t sit 

through a 30-second ad, they’ll happily spend 40 minutes, on average, each time they browse YouTube on their smartphones. It’s noteworthy that digital audio now accounts for the biggest share of time spent, with social media and digital video following. We listen to podcasts while browsing Instagram and Facebook or watch videos on YouTube to be entertained, learn new 

things, and solve problemssee if to believe

it. The video is titled “LG V30 vs. $50,000 RED Weapon— Replicating the Walter Mitty Longboard Scene.”12There are thousands of comments on the video, and the consensus within the YouTube community is clear: The creative direction, and not the tools, is what creates cinematic masterpieces. The same has happened to aerial photography. What would 

previously have required a custom-built helicopter, a pilot, city permits, and a specialized camera team operating expensive camera gear can now be accomplished with an off-the-shelf $1,495 DJI Mavic 2 Pro drone. Too hefty of a price tag? How about renting one for $37 per day? For the past 100 years, you had to possess both capital and knowledge to compete 

with professional filmmakers. Nowadays, the tools are accessible to everyone, and you no longer have to pay a $77,000 per year tuition to attend the USC School of Cinematic Arts. Personal growth is held back only by creativity and not by lack of access to knowledge or capital. Just ten short years ago, traditional media still ruled Earth, dictated attention, and decided who would be famous—but you no longer need their approval. A walk down the Walk 

of Fame There are more than 

2,600 brass stars embedded in the sidewalks along Hollywood Boulevard, bearing the names of musicians, actors, directors, producers, and even fictional characters. Each year, the Walk of Fame Committee selects approximately 30 names for insertion into the Walk. Kermit the Frog, Godzilla, and Donald Trump13 all have a star! It made me wonder. Clearly, if they 

qualify, a YouTuber or two must have made the list. But no. In an interview14 from 2013, a spokesperson for the Walk of Fame and Hollywood Chamber of Commerce clarified that “We don’t have reality stars on the Walk of Fame. We’re happy to consider reality stars once they get nominated for, or win, an Emmy, a Grammy, an Oscar. We'll consider them when they’re 

legitimate actors or singers.” Half a decade later, I suppose the question isn’t if you deserve a star on the Walk of Fame, but to what extent your fans, followers, or subscribers would even care if you do. Hollywood still matters, but there’s a diminishing impact and the tables have turned even for the traditional entertainment industry. Dwayne “The Rock” Johnson has a separate section in his movie contracts stipulating how muchhe’ll get paid to promote his 

Conclusion

movies in his own social media channels—and it’s in the seven-figure range. Here’s what Forbes discovered, as told in a story15 from 2018 by Natalie Robehmed: In addition to hefty $20 million up-front paychecks and cuts of back-end studio profits—starting with July’s Skyscraper, in which he [Dwayne Johnson] plays a former FBI hostage-rescue leader—he’ll insist on a separate sevenfigure social media fee with every movie in which he appears, 

according to people familiar with his deals. In other words, rather than have studios dump money into TV ads or billboards, their new paid-marketing channel doubles as their marquee star. “Social media has become the most critical element of marketing a movie for me,” Johnson says. “I have established a social media equity with an audience around the world that there’s a value in what I’m delivering to them.” In an interview with Porter Magazine,16 

Game of Thrones actress Sophie Turner revealed that she landed a part over a superior actress because she “had the followers.” The actress said: I auditioned for a project and it was between me and another girl who is a far better actress than I am, far better, but I had the followers, so I got the job. It’s not right, but it is part of the movie industry now. She’s right, but also wrong. It’s not that her influence in social media is a part of the movie industry—it’s