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Enterprise Marketing Management . All rights reserved.

Hoboken New Jersey. Rosewood Drive. Danvers MA 0. Permissions Department John Wiley Sons Inc. River. Street Hoboken NJ 0. No warranty may be created or extended by sales. The advice and strategies contained. The publisher is not engaged in.

Slide 4: Enterprise Marketing Management The New Science of Marketing Dave Sutton and Tom Klein John Wiley Sons Inc.

Neither the publisher nor author shall be liable for any loss of profit. Some content. that appears in print may not be available in electronic books. For more. information about Wiley products visit our web site at www.

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Wiley. com. Requests to the Publisher for permission should beslide 6: For Whitney Wheeler and Maggie—D. S. Hayward. and for my salesman father George.—T . K. slide 8: CONTENTS.

Foreword Sergio Zyman xi. Introduction: Enterprise Marketing Management xiii. PART I RUN BRANDS AS BUSINESSES NOT AS CAMPAIGNS 1. Marketing Is Not an Art—It Is a Science 3.

Architect Y our Brand 1. Plug Marketing Into the Enterprise 4. PART II MANAGE YOUR BRAND NOT YOUR CUSTOMER 6. T ake Ownership of the Brand Experience 6. Plug Marketing Into CRM 9.

Cross- Market to Cross- Sell 1. Use New Media for Brand Activation 1.

PART III REINVENT YOUR BUSINESS NOT JUST COMMUNICATIONS 1. Restructure Based on Brand Experience 1. Measure Investment Performance 1. Optimize Marketing Investments to Drive. Profitable Sales 1. Conclusion: A New Day for Marketing 2. ACKNOWLEDGMENTS. his book is the result of relentless hard work on the part of.

While conducting research for the. Lisa Gregg at American Express Tim Riesterer at Ventaso and. David Perry at Aspen Skiing Company.

We would like to especially. Carrie Lucas Hello Stranger Free Download. They’ve added content been. Thanks to Ric Alvarez Art Ash. David Cross Leanne Fesenmeyer Linda Michaels Michael Sinclair. Dave Singleton and Jon Stewart for their energy ideas and general. And thanks to Denise Cowden and. V eda Sammy for their creativity and patience in helping to develop.

Even though. marketing is a science they’ve helped us apply art where it’s neces- . And finally even books. A special thanks to Chris. Baradel and Linda Rondinelli for their help in applying all of the. Also thanks to our edi- . Wiley Airi. His spirited guid- . Companies. and organizations alike are adopting a scientific disciplined.

It’s either because they realize that they. One of the most powerful distinc- . I revealed in that book was the fact that marketing is not. Of course there are artistic elements in. It’s about as mysterious as finance. Y ou. need to start with strategy and execute with discipline.

Over the past few years we rapidly built our. Zyman Marketing Group.

And you know It works. The. book builds on the principles and practices that I outlined in The. End of Marketing as We Know It but it goes on to answer the difficult. This book. answers the questions that many people asked after they read The. End of Marketing as We Know It.

Yeah that makes a lot of sense but. I get it done. This is truly the ideal companion book to The End of Marketing as. We Know It. It is the playbook that allows business leaders to begin. This systematic and logical way has a new name: enterprise. Most of them describe. It has transformed nearly every business dis- . These efforts. were a precursor to the implementation of enterprise resource plan- .

ERP systems that completely changed the traditional func- . HR. Indeed over and. CRM and marketing investments.

While marketing is supposed to. Luddite laggard when it comes to putting information to work to. What could be more impor- . Marketing because after all this approach is still focused on. The notion of what. It has to be. unleashed and managed across every person who interacts on the.

Gone are the esoteric theories of marketing. Now is the time for an analytical. Marketing isn’t. xiv INTRODUCTIONslide 1. It’s the only thing a marketer has to guarantee that. Y ou can’t simply hand off this role to your ad agency.

Ready to admit that your company needs to go to mar- . Keep reading. Marketing’s longstanding tradition of freewheeling. From here on out marketing will make investments. Y ou can be at the vanguard of nothing short of a business. And without a doubt you’ll be selling more—because at. You may notice that. If you think about it.

Not many enterprises think about. The good news: Y ou’ve still got time to change embrace. You may become a case for the. INTRODUCTION xvslide 1. The www. Marketing. Scientists. com web site can serve as a. On. the site you will find the following.

Contact information access to marketing scientists. New presentations/speeches the science is always. Marketers’ scientific methods. Newsletter sign- up.

Each chapter includes at least one case study of the theories. The companies outlined herein represent all sorts of.

And they’re not all positive. Finally at the end of each chapter are key. The desire. alone won’t suffice though.

You have to rethink how marketing. So let’s get going. As Sergio Zyman pointed out in his first book The.

End of Marketing As We Know It Harper Business 1. And if you spend your time thinking of mar- . Marketers do. tend to have an eye for how things should look an ear for language. There’s absolutely nothing wrong with that. The marketer’s role simply.

First and foremost a marketer is a businessperson. It’s this discipline that is at the. EMM and the new. science of marketing. The observation identification description experimen- . Such activities restricted to a class of natural phe- .

Such activities applied to an object of inquiry or study . Methodological activity discipline or study: He’s got. An activity that appears to require study and method. Knowledge especially that gained through experience. Centuries ago science explained that the earth. What. theories do you use to explain why things are the way they are Why. Why can’t you get your stock price any.

The theories—or perhaps rationalizations—that answer. The trouble is too many theories are like. Your company. might have numerous theories about why things are the way they. The need for validation will come into play later in. The ques- . tion you need to answer is: How do you determine what benefits. Start with a hypothesis about what you hope and expect to.

For marketers the usual hypothesis. Will this campaign/activity/initiative help us. Within that overall framework are dozens of smaller. How do I increase share without cutting prices. How do I get products to market faster. How do I beat a competitor that’s 1. How do I close deals faster.

How do I reposition my brands against my competition. How do I develop new products that win. How do I segment my markets to sell more. How do I differentiate what I sell when I’m in a com- . Each one of these questions leads up to the big one: Does this action. I have to more customers at. Before you get to that point however you have to.

In other words the. Observe some aspect of the universe. Invent a theory that is consistent with what you have.

Use the theory to make predictions. Test those predictions by experiments or further obser- . Modify the theory in the light of your results. Return to step 3 and continue as needed. But. how does this relate to marketing Consider the opportunities that.

Observe some aspect of the universe—that is your. For example: The average age of the popula- .

Invent a theory that is consistent with what you have. The average age of my buyer is increasing. Use the theory to make predictions. Older buyers. are more health oriented and would respond to market- . Test those predictions by experiments—in this. Launch health- oriented products and mar- . Modify the theory in the light of your results.

Get. results and learn. Go to step 3 and repeat until you’ve mastered this. But marketers traditionally must figure out how the scien- . And sometimes they’ve done poorly with the. Think of it like gambling.

When the dot- . coms spent millions on Super Bowl advertising—the corporate. Gambling away dollars like this means your marketing isn’t. Gambling away dol- . And reverse- engineering science to fit the. ENTERPRISE MARKETING MANAGEMENTslide 2.

This isn’t to say you won’t hit. But the odds are always against you: Play long.

Copy protection - Wikipedia. Copy protection, also known as content protection, copy prevention and copy restriction, is any effort designed to prevent the reproduction of software, films, music, and other media, usually for copyrightreasons. Unauthorized copying and distribution accounted for $2. United States alone in the 1. Some methods of copy protection have also led to criticisms because it caused inconvenience for honest consumers, or it secretly installed additional or unwanted software to detect copying activities on the consumer's computer.

Making copy protection effective while protecting consumer rights is still an ongoing problem with media publication. Terminology. Digital rights management is a more general term because it includes all sorts of management of works, including copy restrictions. Copy protection may include measures that are not digital.

A more appropriate term may be . Some even argue that free copies increase profit; people who receive a free copy of a music CD may then go and buy more of that band's music, which they would not have done otherwise. Some publishers have avoided copy- protecting their products, on the theory that the resulting inconvenience to their users outweighs any benefit of frustrating . DRM and license managers sometimes fail, are inconvenient to use, and may not afford the user all of the legal use of the product he has purchased. The term copy protection refers to the technology used to attempt to frustrate copying, and not to the legal remedies available to publishers or authors whose copyrights are violated. Software usage models range from node locking to floating licenses (where a fixed number licenses can be concurrently used across an enterprise), grid computing (where multiple computers function as one unit and so use a common license) and electronic licensing (where features can be purchased and activated online).

The term license management refers to broad platforms which enable the specification, enforcement and tracking of software licenses. To safeguard copy protection and license management technologies themselves against tampering and hacking, software anti- tamper methods are used. Floating licenses are also being referred to as Indirect Licenses, and are licenses that at the time they are issued, there is no actually user who will use them.

That has some technical influence over some of their characteristics. Direct Licenses are issued after a certain user requires it. As an example, an activated Microsoft product, contains a Direct License which is locked to the PC where the product is installed. From business standpoint, on the other hand, some services now try to monetize on additional services other than the media content so users can have better experience than simply obtaining the copied product. The basic technical fact is that all types of media require a . The player has to be able to read the media in order to display it to a human. In turn, then, logically, a player could be built that first reads the media, and then writes out an exact copy of what was read, to the same type of media.

At a minimum, digital copy protection of non- interactive works is subject to the analog hole: regardless of any digital restrictions, if music can be heard by the human ear, it can also be recorded (at the very least, with a microphone and tape recorder); if a film can be viewed by the human eye, it can also be recorded (at the very least, with a video camera and recorder). In practice, almost- perfect copies can typically be made by tapping into the analog output of a player (e. Copying text- based content in this way is more tedious, but the same principle applies: if it can be printed or displayed, it can also be scanned and OCRed. With basic software and some patience, these techniques can be applied by a typical computer- literate user. Since these basic technical facts exist, it follows that a determined individual will definitely succeed in copying any media, given enough time and resources.

Media publishers understand this; copy protection is not intended to stop professional operations involved in the unauthorized mass duplication of media, but rather to stop . They can be encrypted in a fashion which is unique for each user's computer, and the decryption system can be made tamper- resistant.

Methods. These were (and are) programmers who would defeat copy protection on software as a hobby, add their alias to the title screen, and then distribute the . Software prices were comparable with audio cassette prices.

So have those who used TRS- DOS, and I understand that MS- DOS has copy protection features. The first copy protection was for cassette tapes and consisted of a loader at the beginning of the tape, which read a specially formatted section which followed. The first protection of floppy disks consisted of changing the address marks, bit slip marks, data marks, or end of data marks for each sector. For example, Apple’s standard sector markings were: D5 AA 9.

That was followed by track, sector, and checksum. DE AA EB concluded the address header with what are known as bit slip marks. D5 AA AD was used for the data mark and the end of data mark was another DE AA EB. Changing any of these marks required fairly minimal changes to the software routines in Apple DOS which read and wrote the floppy disk, but produced a disk that could not be copied by any of the standard copiers, such as Apple's COPYA program. Some protection schemes used more complicated systems that changed the marks by track or even within a track. Locksmith. He did not believe that it was useful, writing in 1.

Most involve so- called nibble/nybble copiers, which try to analyze the original disk and then make a copy. It's going to dry up the software.

There ought to be some way to stop . These copiers reproduced copy protected floppy disks an entire track at a time, ignoring how the sectors were marked. This was harder to do than it sounds for two reasons: firstly, Apple disks did not use the index hole to mark the start of a track; their drives could not even detect the index hole.

Tracks could thus start anywhere, but the copied track had to have this . Secondly, Apple used special . These bytes were written as normal data bytes followed by a slightly longer than normal pause, which was notoriously unreliable to detect on read- back; still, you had to get the self- sync bytes roughly right as without them being present in the right places, the copy would not work, and with them present in too many places, the track would not fit on the destination disk. Locksmith copied Apple II disks by taking advantage of the fact that these sync fields between sectors almost always consisted of a long string of FF (hex) bytes. It found the longest string of FFs, which usually occurred between the last and first sectors on each track, and began writing the track in the middle of that; also it assumed that any long string of FF bytes was a sync sequence and introduced the necessary short pauses after writing each of them to the copy.

Ironically, Locksmith would not copy itself. The first Locksmith measured the distance between sector 1 of each track. Copy protection engineers quickly figured out what Locksmith was doing and began to use the same technique to defeat it.

Locksmith countered by introducing the ability to reproduce track alignment and prevented itself from being copied by embedding a special sequence of nibbles, that if found, would stop the copy process. Henry Roberts (CTO of Nalpeiron), a graduate student in computer science at the University of South Carolina, reverse engineered Locksmith, found the sequence and distributed the information to some of the 7 or 8 people producing copy protection at the time. For some time, Locksmith continued to defeat virtually all of the copy protection systems in existence.