A genuinely original contribution to marketing literature.

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WE ARE ALL THE SAME AGE NOW

VALUEGRAPHICS, THE END OF DEMOGRAPHIC STEREOTYPES

A new profiling tool promises to change the marketing landscape by focusing on consumers’ values.

Conventional marketing wisdom has long held the principal predictor of consumer behavior is age, which is precisely why so much time and energy has been expended trying to effectively reach millennials (defined here are people born between 1980 and 1995). However, while Allison (The Stackable Boomer, 2015) was researching baby boomers, he discovered that many of their life decisions align with millennials’, undermining the regnant view that the latter are “an entirely new species of human.” He argues that, in general, relying upon age as a profiling tool is misguided and that it should be discarded in favor of a reliance on values—what people “want, need, and expect from life.” He transformed this key insight into a practical instrument, he says, by inventing “Valuegraphics,” which he describes as the “world’s largest purpose-built database of shared values,” comprised of 75,000 surveys that one can algorithmically mine. It classifies respondents according to basic types, determined by core values; the 10 most popular are called “Valuegraphics Archetypes,” such as “The Adventure Club” (“the curious ones, always restless and looking to try new things”) and “The Savers Society” (which includes Allison’s “mother-in-law, who will drive forty-five minutes across town because butter is on sale”). According to the author, members of a particular archetype are overwhelmingly likely to agree with one another, which makes them remarkably predictable as a group. For example, he says, those who consider loyalty to be their chief value tend to agree with others who do so about 83 percent of the time. As one might expect, the book often reads like a long infomercial, as its sales pitch for Valuegraphics is relentless. However, Allison’s prose is lucid, engaging, and convincing, and he makes a powerful argument that our society’s “new agelessness” demands a seismic shift in marketing analysis. Further, he provides a rigorous account of Valuegraphics’ various applications and benefits. Oddly, though, he doesn’t include a full sample survey, stating that it’s too complex to show in book form.

A genuinely original contribution to marketing literature.

Pub Date: Oct. 9, 2018

ISBN: 978-1-5445-0087-4

Page Count: 226

Publisher: Lioncrest Publishing

Review Posted Online: Oct. 11, 2018

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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