Category Archives: Mobile Media

My Opinion? Happy to Share, Just Let Me Consult my Phone

Today I was at an event where our CEO was speaking about technology advancements for health research and patient-engagement (the holy grail of cashing in on PCORI funds allocated from the Affordable Care Act). She referenced in her speech an off-handed comment I made in a planning meeting– that “our phones have become our brains” , and after she finished she joked to me about using it (without proper citation!!).

I didn’t get the joke, mostly because I’d been on my phone the whole time she had been speaking. I had to jog my memory of this hilarious joke about phones being our brains, so I had to check my phone.

Did my meeting notes reference this off-hand joke? Checked my evernote: Nope

Did I just regurgitate someone else’s joke? Google search: Nope

Was it that funny? Crowdsource the answer with a tweet: Consensus, certainly not funny. You shouldn’t joke about your phone.

It's not uncommon when out to dinner with friends to spend a little time pondering deep in thoughts n' stuff.

It’s not uncommon when out to dinner with friends to spend a little time pondering deep in thoughts n’ stuff.

This illustrates that this “joke” is in fact not a joke at all. It’s reality. I’m helpless without this phone. I’m incapable of formulating an opinion or thought without it.  Or am I? Consulting webmd: consensus, smartphone addiction is real and afflicts so many of us. Oh f*ck you webmd, you sanctimonious website. I’m going to have my phone block you after I consult my phone on how to do that.

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Cost Benefit Analysis of Ruining my Child’s Childhood

Andie seems to do some really funny things when bathing, and I’m frequently trying (and missing) to capture a gem.  Well, this past weekend I caught what could be considered the holy grail of hilarious and exploitative material – a snippet that has the potential to go more viral than a cat falling curiously off the side of a couch while reaching for something.  As my iPhone began to roll, a humongous, water-displacing fart rumbled out of my 27 pound darling.  A fart that you’d think to be generally reserved for a 300 pound man, exploded out of the kiddo and she immediately started riffing on it.

“It’s poopy daddy!”

“Big Poopy!”

“Poop-tastic.”  (or some derivation)

Thankfully there was no poop.

Now, like you, I’ve spent probably 1,000’s of hours of watching dad’s get hit in the nuts by ill-set-up tee ball equipment on America’s Funniest Home Videos (AFV to those of us in the know), and if there’s one thing I’ve learned from all of that time spent – fart jokes are 3rd only to crazy animal behavior or the aforementioned nut-shot-to-dad-while-playing-tee-ball (NSTDWPTB for short) in terms of both laughability and likelihood of prize money.

You know how all communication nowadays is structured around a pun - well - this was the pioneer. "Thar she blows" might have been a nice one if this video were to get on TV in 1989.

I watched some AFV this weekend to verify my suspicion that this video could actually be a gold mine and my suspicions of grandeur were confirmed.  This has the potential to make Andie’s daddy a very rich man for a couple of months.  If you win one show it’s like $10,000 and if you win the whole season it’s $1,000,000 (although this is the same as it was in 1989 – so how about a little consideration to inflation!).  Like you, I immediately thought of all the fly cars and clothes that that mil will buy me and I even put a down payment (or was it a retainer?) on a helicopter time-share I’ve had my eye on.

It’s going to be amazing how rich I’ll be!

Then the funniest thing happened, I started to think about how getting massive attention for a video of yourself in a bathtub farting might affect Andie as she grows up.  Would that negatively affect her?  Or… could it possibly give her that springboard to the even more lucrative Disney/Nick Kids/Spike TV world that we’ve both always dreamed of?

A small part of me thinks there could be some fallout as she grows up, but then, we’ll be so rich that I can simply pay to have it removed from the internet later right?  Or at the very least I’ll be able to afford some very fancy therapy for myself to help me cope with those negative feelings associated with ruining your child’s life.

Check out this video of a cat falling off the side of a couch and tell me it’s not hilarious?  TELL ME!  That’s what I thought.  So… I should go for it right?

Please help me make my decision by filling out this one question poll.

A business opportunity helping the hungry

In my job, I’m working on building a specific product line of Urbanspoon, and as such, our channel partners sometimes get a little confused about what the company does.  I’m asked pretty frequently, what is Urbanspoon?

Generally I say that it’s a web and mobile dining guide and Rezbook is our reservations product.  That’s ok, but I’ve been thinking I need something sexier.  So I was in the shower this morning and it hit me.  It helps hungry people find a place to eat.  That drives home the point about geo-location and immediacy that our users seem to find most valuable, and reminds our merchants that we are the place people are looking.

But, obviously you can’t say you are a website dedicated to helping hungry people if you aren’t doing anything about feeding people who don’t get enough to eat.  That’s pretty insensitive, no matter how marketable.  This lead me to thoughts about our growing disparity in wealth, burgeoning underclass (new census reports today say that we now have 15% of Americans below the poverty line… which I think is like at $1,100 in annual income for a household).

These are the hungry, although, maybe not as much, because they also are disproportionately the obese – disregard that for a moment and I came upon something that could be a potential business idea.

A mobile app dedicated to finding out about wait times at various soup kitchens and homeless shelters.  It’s called Hunger Helper, that, or Line Spotter, or maybe No Wait, and of course these will all have their vowels removed.  HngrHlpr, LnSpttr, NWt…. et al

Ok, your first reaction is that I’m both a jerk and an idiot – homeless people don’t have cell phones!  Perhaps right now, the homeless are mostly analog -and- maybe waiting in those lines is something social that gives them some structure to the day (bad and mean-spirited joke aside, maybe it does??).  They may not be mobile phone users (and certainly not web enabled smart phone users), but this is the time to anticipate what mankind in the future might need.

With the crippling unemployment rate at over 9% and probably not coming down anytime soon, a very uncertain economic future, and the impending sense amongst the young that the future is not getting brighter — there are unfortunately going to be more and more homeless.  Now, couple that with the overwhelming and skyrocketing trend of smart phone adoption and maybe this idea isn’t so crazy?   These young dissafected kids who spent $200 on that iPhone, and another $100 per month on service, are becoming increasingly addicted to their phones.  Even without a job or income, they will find a way to keep that phone.

I can see this being a common conversation held in the future between a young man and himself.

“It’s just so good and man, it gives you everything you need, Angry Birds, like, I can check my gmail account, and all those fast-twitch muscles I’m working means I could be like a Navy Seal or something maybe, plus the thing stays charged for over an hour, and it’s so warm, at least my hands are warm…. so I’ll need to find a shelter with an available power outlet.  Better bring up HngrHlpr!”

The time to invest in this is now, please send your check or money order to me immediately and I will promise to continue to think both very long and very hard about this.

Maybe he isn't on a smart phone yet... but "smart phones" now account for over 73% of the cell phone market in America (ok, I made that statistic up, but really, 34% of all statistics are made up on the spot).

In all sincerity, this is a nice article if you want to feel bad about today’s news:

More Volume! Analysis of

Check out today for up-to-date concert listings with volume!
James Taylor

Com 597, Media, Money, Metrics Final Paper

Spring 2010

More Volume More Places: Tour Volume (TOVO) is an online and mobile concert promotions portal for both independent and major label artists where users can choose an upcoming live music concert to attend by hearing the band, seeing where it is playing, and purchasing tickets.  The goal of TOVO is to be a preferred provider of syndicated concert calendar information to other media properties in need of real-time regularly updated content.

Tour Volume has a huge concert database with:

• 39,601 Artists (bio, 10 related artists)

– 42,345 images

– 62,438 mp3’s

• 116,232 concerts (as of May 2010)

• 31,701 venues

• 112,149 cities.

In my research I used various web and social media analytics tools including Google Analytics, Radian 6, Google Adwords, Compete, and Quantcast to measure the current activity and buzz surrounding TOVO and its competitors to best recommend courses of action that will fulfill its goals.

Recommendation Overview: In the parlance of volume…it’s 4 chords.


2)       Bass -and- Treble: Focus selling white-labeled -and- branded API to two verticals only, radio and existing highly ranked websites.  1) radio because of the synergy between music station calendars and the audio only available through TOVO, and potential to cross-promote, and 2) existing highly ranked Websites that optimize well for concert-related Google searches but lack up-to-date and dynamic content to increase visibility of content “powered by TOVO.”

3)       Rhythm Section: Affiliate and marketing outreach to key influencers, promoting the content more and incentivize them to promote TOVO content through link building, and revenue-sharing.

4)       Whatever makes you Louder: Continue to differentiate itself from competitors by expanding promoter/band-generated content –with- the ever growing database of venues, concerts, and tickets.  And promote the site and API through SEO and SEM catered to long-tailed keywords.


“I have not made the api public yet, because I have not figured out how to make the developer on the other side pay me or figure out how to force them to use my ticket link so that I get paid.” – Dave Bonillas, Tour Volume

White-labeling –and- Branding TOVO:

TOVO has expressed interest in white-labeling its concert info to other media, and there are numerous outlets that may be willing to pay licensing fees between $5,000 and $10,000 monthly (this is what its competitor TIB Concerts generally charges) for the ability to syndicate TOVO content.  But it should also consider other partnerships with influencers in the blogosphere and micro media communities that brand TOVO as a content provider.  This may not garner as much (if any) in terms of licensing fees, but could generate more ticketing revenue with added traffic running through its network and better position the brand to expand to other markets, and verticals within the music industry (such as branded apps for venues – another TOVO idea).

I used Radian 6 to measure what was being discussed on blogs and micromedia sites related to TOVO’s audience and content, and determined who the key influencers were within these groups.  With Radian 6 I found that some strategic outreach to key influencers with the proposition of syndicating TOVO content in exchange for revenue sharing on tickets and linkbacks would be a very cost-effective way to gain momentum for the brand.

My parameters for Radian 6 measurement were:  The last 30 days (May 6 – June 5), and the following brands Tour Volume, Live Nation, with the main keywords being “concert”, and “live music” (and their derivatives).  TOVO doesn’t have much in terms of online chatter currently, so I measured Live Nation because it’s the industry standard for concert promotion as well as a ticketing partner of TOVO’s.

There were 554,621 related “hits” in the last 30 days using our search terms on blogs, micromedia, forums, and mainstream media.  “Concert” and “band” were the most vague and garnered the most inclusions, but “live nation” also was mentioned frequently.

This pie graph illustrates the breakdown of sources for the 554,621 blogs, mainstream, and social media.  As you can see, the lion’s share of related discussions and influence is happening on micromedia (twitter) and blogs – only 7.2% of the discussion happened on forums, mainstream media, and aggregators.

This data illustrates to me that TOVO should actively seek out participation in these related discussions on blogs and twitter, and I dug deeper into the influencer reports to determine who would make the best candidates.

I compiled detailed reports for these two major groups, blogs and micromedia, as well as a comprehensive that ranks all sources based on inbound links and comment counts.  Below you’ll find a snapshot I created, with the full reports going to TOVO to be used as lead generation for strategic outreach.  Not all of these entities will be open to a partnership, but it will allow TOVO a jumping off point with sound strategy in place.

Besides outreach to the key influencers in social media, TOVO should brand its content through partnerships with sites that may help further promote TOVO.  Partnerships with music blog aggregators such as The Hype Machine, which has significantly more traffic than TOVO (see graphic below) and no concert listings, could be a great first step in building the brand.  The 2 companies could work out a profit sharing agreement for tickets sold through The Hype Machine site and TOVO’s feed.

Also, in terms of strategic partnerships, TOVO should consider outreach to radio station websites in key markets.  These stations drive listeners back to their sites to see what concerts are upcoming; yet many lack enough or up-to-date concert information.  TOVO could provide this content in exchange for branding opportunities and could reasonably expect to reap a larger percentage of the ticket sale.  The radio station could sell advertising on the space as well.   Both instances involve the entity (aggregator, influencer blog, or radio station website) using the TOVO syndication feed, which mandates tickets being sold through TOVO.

Top 50 Radio Markets Ranked By Metro 12+ Population, Spring 2005* * Source : Arbitron 2005
1 New York, NY 15,283,100 5 Dallas-Ft. Worth, TX 4,672,400
2 Los Angeles, CA 10,724,900 6 Philadelphia, PA 4,334,000
3 Chicago, IL 7,648,900 7 Houston-Galveston, TX 4,296,900
4 San Francisco, CA 5,850,900 8 Washington, DC 4,114,900

However, this is not to say that TOVO is not ready to white-label its content to specific partners that do not provide branding value.  There are numerous web properties that are optimized very highly for concert-related searches that lack adequate concert data.  I took the Top 50 radio markets and googled “concerts” in each one, and found at least multiple entries on page 1 that would fit this bill.  From the website purchasing the white-labeled feed, the data appears on that site (see mockup below the Google screenshot below).  This content is much more likely to be clicked on than the sponsored ads currently dominating the space, and will give these highly-ranked sites more relevant content that they won’t have to create themselves.  Many of these sites have diminishing traffic that is trending down (see compete for above) and very high bounce rates, as users click on them from search engines because they optimize so well, but immediately click off because the content is not up to par.  TOVO’s white-labeled content could remedy this for the website, and provide significant licensing revenue to TOVO.

Boulevards Media is company that owns domain names for over 50 major metropolitan markets and would be a great place to start.

Focus on increasing Visitors –and- Visibility using linkbacks, SEM, and SEO:

TOVO’s focus is not to drive traffic to its website, because they want to be a content provider for other entities.  However, in order to be seen as trusted content for these entities it should better optimize itself for related search. It would make sense to trade links with the blog influencers and partners for branded content referenced above to help accomplish this.  If you look at the above data from TOVO’s Google Analytics you see that a fair amount of its traffic comes from Search Engines, but not much comes from referring sites.

One stated advantage of using TOVO to promote your band is the band profile and audience.  Two things that could be done to incentivize bands to promote their identities more on TOVO would be 1) make a designation and reward those that contribute the most (like a yelp elite), and 2) build the above referenced branded partnerships.  The branded partnerships and added exposure and traffic through the partner sites will incentivize bands further to promote themselves and their shows on TOVO.  ­­­­­

SEM: TOVO could also run a small Google Adwords campaign focusing on long-tail keywords that are less expensive to build traffic and industry awareness.  I pulled from Google Adwords Keyword Tool estimator detailed reports indicating search volumes for TOVO’s related terms, which could help not only in keyword bidding, but in structuring the content of TOVO for SEO.  See a snapshot of some long-tail keywords all estimated at under $1 per click and almost 10,000 monthly searches or more.

Keywords Estimated Avg. CPC Global Monthly Search Volume
live blues $0.60 165000
live scene $0.62 60500
live fest $0.05 33100
concert venue $0.89 27100
live folk $0.05 18100
rock calendar $0.91 18100
concert celebration $0.05 14800

Recommended Milestones –and- Key Performance Indicators (KPI):

By Month 1:

Revamp signup process for TOVO email list. Include more relevant geo-targeted information as well as music preferences.  Send emails out on Wednesday (historically the highest open-rate for email marketing), track open rates and click-throughs from the email, as well as bounce rate for those that click-through.  KPI = marked uptick in user volume the day email is sent.

Boulevards Media. Start dialogue regarding white-labeled data feed.  KPI = closed licensing deal.

The Hype Machine. Start dialogue regarding branded feed.  KPI = closed ticket revenue sharing and feed agreement.

By Month 3:

Influencer outreach. Take Radian 6 reports and make contact with top 100 influencers from both blogosphere and twitter to build partnerships, link-building, and branded syndication.  KPI = 20 targeted/branded feeds on influential blogs, 100 retweets of TOVO content, and marked increase in referral traffic to TOVO website.

By Month 6:

Radio Station Partnerships. Actively forge partnerships with radio station websites in the top 50 radio markets to further brand TOVO, and generate ticket revenue.  KPI = 1 branded partnership in each of the 50 markets.

More promoter and band-generated content. Actively promote the band-generated control to influencers, blogs, and the bands themselves through SEM, and the above-mentioned partnerships.  KPI = Currently TOVO has 39,601 artists listed and 62,438 mp3’s, that number should be doubled.

If TOVO takes my recommendations and timeline using the Radian 6, Google Analytics and other competitive data I’ve compiled to form an expansion strategy it will be well-positioned in a relatively sparsely populated market.  There are currently only a couple of other data feeds that offer concert listings (Pollstar and TIBconcerts to name a few) to other media companies, and none that incorporate everything TOVO has to offer. (c) 2010


Check out today for up-to-date concert listings with volume!

MMM – MobileMusicMap


Com 597

Winter 2010

On a recent visit to New York I tried to plan a night out to go see and hear live music.  As an avid iphone application user, I inferred that I should easily be able to find a New York music calendar app that would help us pick a show.  After searching both the iphone app store and my mobile browser for “Live Music Calendar New York,” “New York Concert Calendar”, and “Concerts,” I came upon many sources that gave the location, name of bands, and general information such as hours and musical genre.  Unfortunately, none provided audio samples of the bands and all of the necessary information in an easily navigable interface.  All the listings required some knowledge about the location and band which made it necessary to check multiple sources.  My fictitious mobile site, application, and website would be created to fill this void in a scalable manner.

Mockup of MMM - Mobile Music Map - iphone App

MobileMusicMap (MMM) fuses a mobile music player with a music calendar and ticketing system – displayed on a map.  MMM’s mobile site and app utilizes gps attached to web-enabled mobile phones allowing the user to see the location of the venue in relation to their own location, and its audio catalog lets the user hear what a band sounds like.  Combining the calendar with map functionality, music player, and ticketing would create a truly one-stop shop for empowering users to make informed decisions and purchase tickets for the live music they’d like to attend.

(See mockup above of what MMM might look like)

MMM - MobileMusicMap

(Mockup of user interface of MMM website)

The media involved…

MMM would be accessible via the web, a mobile version of the site, and an iphone and android application.  It would tie in sms and mms through marketing or ticketing initiatives, but the primary focus would be the interactive map that would require viewing on a desktop or web enabled “smart phone.”  MMM would use Google Maps as the platform for development (see mockup above) just as other sites use the mapping technology coupled with gps to display relevant location-based content.  Initially, the focus would be on developing the desktop version and iphone application because these have the quickest and most substantial impact amongst its target demographic of 16 to 35 year old urban concert goers.  It will be catered to urban areas as these are where MMM’s audio could provide relevant content currently lacking in the marketplace.  These major metropolitan areas have the highest concentration of live music, which increases the likelihood the concert goer has never heard what the listed band sounds like.  The age demographic is the vast majority of concert-goers.

The Website and iphone app would be its initial focuses.  According to the 2008 US Census, over 74% of the population has access to the internet, and admob’s Q4 2009 report indicated the iphone has over 54% of the mobile operating system share. The android app would be the 3rd initiative as it has 27% mobile operating system share, giving us potential exposure to 71% of web enabled phones.

MMM would start with venue data from an existing data feed partner.  This would involve initial outreach and the negotiation of fees paid to a data feed (such as infoUSA), or the development of a tool for venues to feed their content and calendars into its back end.

In order to bring MMM to market as fast as possible, it would make sense to strike a partnership with an existing media company with an online catalog of music, rather than developing all of the relationships and licensing with bands and labels from scratch.  Much of the music collection wouldn’t require heavy negotiation as it would be from bands that aren’t on heavily-promoted big labels, as the general point is to let users hear bands they don’t know.  There are two potential partners who fit the music feed requirements, both at very different levels of development and popularity.  Pandora Internet Radio is the largest online music service and is one of the most popular iphone applications.  With 37 million registered users, it has a huge audience that use it to listen to music from their phone or online.  They do not provide ticketing for concerts, nor do they have a calendar.  MMM could be developed with a plug-in capability for Pandora’s content that would include (as incentive) a potential revenue stream for Pandora in ticketing.  Pandora’s only current revenue source is advertising, and they may be amenable to the idea of another stream. If a partnership was struck, Pandora would have a vested interest in making their 37 million registered users aware of MMM.

Tourvolume is a newer web and mobile site (with a purported mobile application on the way) that already incorporates a calendar and music player with concert data for over 115,000 cities around the world, music from over 46,000 artists, and stock information for over 33,000 venues.  The music player technology itself is not as crucial as the rights and compiled music files.  Its web traffic is very small with around 1,000 monthly unique visitors, and there is no measurable data for the mobile site.  For a frame of reference, many small venues in each city have over 1k monthly unique visitors.  The fact that Pandora has over 37 million registered users and such a large mobile audience through the iphone and other “smart phones” would make striking a partnership with them significantly more difficult than working with Tourvolume.  Partnering with Tourvolume would not have the marketing advantages of Pandora, but would cost significantly less in terms of revenue sharing.

Concert ticketing would be the revenue source for MMM and developing the ticketing technology marketplace and agreements with venues would not be part of the initial rollout.  Ticketmaster/Live Nation sells over 45 million tickets a year to high profile music concerts, and there are many online ticketing companies that provide for smaller venues and concerts.  MMM would strike affiliate deals when it is rolled out to each new market, to be paid per ticket purchased through MMM.

Why mobile?

While the web version of MMM has the most current potential for building an audience based on total number of potential users, the mobile application has the most opportunity for impact.  MMM’s scalability would allow for it to be replicated in every major metropolitan market, and the mobile piece is what would make the most sense for tourists orientating themselves with the local geography and music scene and locals who use their phones to plan entertainment.  The gps locator will give users the ability to plan based on their current location and in relation to the venue’s location.  More and more people use their phone to plan entertainment around them, and MMM will capitalize on the increasing demand.  Many people also use their phone to listen to music, so not only is that a recognized vehicle for consuming music, but it’s generally easier for the user than through desktop website.  One of the major differentiating factors between MMM and the current major players in the mobile music calendar ecosystem, is giving the user the ability to hear what an unfamiliar band sounds like.

Why spend the money to build it?

Two things justify development costs associated with MMM:

  1. The current void in the marketplace.
  2. The revenue potential.

Currently there is no universal online/mobile concert calendar in every major market.  There are different players in different markets.  Metromix has event guides in many urban areas and provides data to newspaper websites such as that both optimize well on search engines and have significant traffic.  There are also regional concert promoters who have online calendars and (to a lesser degree) mobile sites and apps.  The combined company of Ticketmaster (the world’s largest ticket seller both online and off) and LiveNation (the largest concert promoter) have extensive calendar directories, but they only offer information on shows for which they are selling tickets.  These are for well known acts at larger venues, and the majority of concerts and venues do not work with these companies. None of these directory and ticketing sites and apps combine the functionality proposed for MMM with a one-stop site for tickets.

According to Billboard Magazine, the concert business was up worldwide in 2009, with total revenue of $4.4 billion, up nearly 12% over 2008.  Total concert attendance was 73 million, which was similarly up nearly 13% from the previous year.  MMM would have affiliate deals with Ticketmaster/LiveNation, which pays up to $5 per ticket sold as well as negotiated rates with other vendors for smaller shows.  There are sites that provide online ticketing for smaller venues such as brownpapertickets and MMM would negotiate deals with these entities as well.

Who are the key players in the mobile ecosystem?

For MMM’s mobile apps and site, it would be reliant on Original Equipment Manufacturers (OEM’s) such as HTC to provide the gps chips in the phones it would use to geo-locate its users.  It would be required to follow Apple’s itunes guidelines in order to offer an app to iphone users, and eventually do the same with android.  The rest of the mobile ecosystem would be made up of the content partners I have referenced above for the audio (Pandora or Tourvolume) and ticketing (Ticketmaster/LiveNation, brownpaper, etc…).  Map functionality is the core component of its app, and MMM would be reliant on Google maps in the same way that Yelp’s “monocle” and Urbanspoon’s “scope” functionality is plotted.  MMM would develop pinpoint technology (see screenshot on page one) that utilized Google maps.  It may want to use an aggregator or other operating systems (Windows Mobile, Symbian) after it has developed its iphone and android apps.  The mobile ecosystem is changing so rapidly that it seems reasonable for MMM to focus initially on the 2 most widely used mobile operating systems and marketplaces in the US only.

Again, there is currently no dominant player in the mobile concert calendar ecosystem.  Local mobile versions of the sites referenced above (Metromix Mobile, Village Voice Media’s “Seattle Weekly Mobile” and others), as well as concert apps (Seattle Stranger App) exist, but have not gained critical mass and lack the functionality outlined herewith.

What are the main challenges?

The biggest challenge in creating MMM is striking content partnerships in a timely manner.   That is why it might be advantageous to work with a provider such as Tourvolume, who has sufficient data, but not the traffic that would demand higher fees and a longer time table to get MMM to market.  Another large challenge is in reaching those potential users who are without “smart phones”.  Although non web-enabled phones still make up the majority of the populous, MMM is targeted more specifically to the younger urban person who is more likely to have a web-enabled phone.  Its desktop version will allow users to text the concert info to themselves, and potentially can have the ticketing be delivered to the phone so the user would not have to print a copy.  There could be a unique bar code for each ticket, and the venues could either register the person via bar code scanner (which is currently available on a web enabled ipod touch or iphone).

How will the program gain exposure?

Depending on the partners in place, there would be differing avenues to promote MMM to the concert-going public.  If MMM were able to secure a content sharing agreement with an existing entity with significant music-related-traffic, it would leverage that traffic and partnership to reach an   initial audience.  MMM would definitely run a Google adwords campaign for both web and mobile search.  MMM would focus its search spend on long-tail keywords such as “Seattle Reggae Concert,” instead of “Seattle Concert,” which tend to be significantly more expensive.  While most people do not click on sponsored results, they are very visible and would drive relevant traffic to both the web and mobile versions of MMM.

The concert venues, promoters, and bands all have a vested interest in selling more tickets and MMM would focus on incentives to these parties to promote MMM to their own audiences.  One way could be to give dedicated links back to the bands to include on their social networking initiatives and giving its affiliate commission back to the party that drove the sale.  MMM could also “power” the calendars of venues and bands who don’t want to spend the money to develop their own infrastructure.  Terrestrial Radio would be the one non-web or mobile advertising channel MMM would consider, as it is where many people listen to music and hear about concerts.

First partnerships for MMM…

There are numerous ways MMM could go about becoming the dominant player in online and mobile concert calendaring.  If Tourvolume was interested in the idea of integrating data with MMM’s functionality, the development costs could be quite small and the enterprise could be funded by a small group of founders and investors.  However, if it makes sense to develop the sites first before seeking strategic alliances, then major venture funding might be necessary.  With the void in the marketplace and revenue potential; the keys to success would be expediency to market and key partnerships with ticket sellers.   Regardless of how it was implemented, MMM could incorporate mapping functionality with a concert calendar, audio catalog, and ticketing into one web and mobile source that empowers concert-goers.

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