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It must be typed but should not exceed 2 pages (which must be stapled). Keep it simple and to the point (concise and precise).

Hi,

I will apreciate your help about my mrgt47 module case assigments. The cases will cost me 60 points and I really I need help in aswers the critical thinkings questions. I am not really good to asnwer them. :(

Please help me.

Than you for your time
MKTG 47 MODULE II ASSIGNMENT This 4 part assignment is worth 60 points toward your semester grade. It must be typed but should not exceed 2 pages (which must be stapled). Keep it simple and to the point (concise and precise). If you have additional questions after reading and absorbing the below listed objectives, please ask your instructor. Directions - Please read the below listed Case Assignments and answer each of the questions that follow in paragraph form (Case Assignments I, II, III & IV). Your answers are to be type written in a professional college level manner. As I have mentioned before, I grade on quality, not quantity. Please remember that this is an individual assignment. Good luck! CASE ASSIGNMENT I: (Ch # 11) Playbill Cast in the Leading Role, Playbill Shines Anyone who has ever attended live theater has probably, at some point, flipped through a copy of Playbill. Established in New York City in 1884 as the program of choice for Broadway and off-Broadway theaters, Playbill the company publishes and distributes the near-ubiquitous black and white program with the familiar yellow and black cover to theaters in almost every major and medium-sized city in the United States. Over 3 million theatergoers read the programs every month. Complete with cast rosters and biographies, show synopses, lists of prominent theater sponsors, insider gossip columns, and various feature articles on nationally known actors and theater personalities, Playbill provides its readers with a panoramic view of the performing arts. Playbill distributes its programs free to theaters, which, in turn, give them to show attendees as a complimentary item included with the price of their tickets. Like most magazine publishers, Playbill earns revenue simply by selling the advertising space—a lot of it—within its pages. Thanks to its broad distribution network and its wealth of proprietary and nationally oriented editorial content, Playbill is able to extend its revenue base with a mix of local, regional, and national advertisers. Although the audiences at the many performing arts centers represent a highly coveted and affluent consumer demographic, Playbill’s competition has been limited to one national and several regional program publishers. To establish itself as the lone national brand, Playbill purchased its primary rival, Stagebill, which publishes Performing Arts magazine, in 2002. Though Playbill’s purchase of Stagebill could be interpreted as a move to exert its dominance, closer inspection of the deal and the state of the industry reveals that Playbill was motivated simply by survival. Program publishers suffer from exceptionally low profit margins, and continual pressure to cut costs left Playbill with the ability to supply programs to only a select few of Stagebill’s most lucrative former customers. Though Playbill has eliminated its most serious rival, fallout from the takeover emboldened the theater owners who were left behind. Consequently, demand for locally published programs has increased. Sizable theater consortiums in major markets such as San Francisco, Chicago, Seattle, and Los Angeles now work with local publishers who afford them more editorial control over their programs’ content. To venue owners in those markets, providing locally focused news, information and personal profiles is the key to building audience support for live theater in their particular market. To help offset their publishing costs, some even assume responsibility for selling advertising space in their programs in exchange for a share of the ad revenue they generate.
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In addition to effectively monopolizing the national market for printed programs, Playbill has further extended its appeal to advertisers by forming the necessary business partnerships to take its product to the airwaves and into cyberspace. Recently, Playbill and Sirius Satellite Radio formed a strategic alliance to provide daily news features, live programming, music, special programming, and information from the world of Broadway for Sirius Radio’s Broadway’s Best channel. In return for the increased brand exposure, Playbill will promote Sirius in printed editions of Playbill and through Playbill On-Line, at Playbill.com. Playbill.com uses a mix of exclusive content, feature articles pulled from the printed Playbill, show schedules, and seating charts for all of Playbill’s partner theaters around the world to generate 20 million hits each month. Playbill has used the Web site to coordinate partnerships with ticket agencies, restaurants, and hotels that offer discounts to the hundreds of thousands of subscribers to Playbill On- Line’s Playbill Club. Consumers can join the club for free, and it offers tremendous exposure for Playbill’s business partners who are able to place their products or services directly in front of individuals with an average yearly income of $80,000. Clearly, Playbill is on solid ground. Nevertheless, it still faces the challenge of finding innovative ways to earn a profit from a product that doesn’t cost its end customers a single cent. Questions: 1. Is Playbill a good, as service, or both? 2. Using the material in learning objective 4 as a template, outline Playbill’s marketing mix. Discuss its product, core and supplementary services, mass customization, service mix, distribution, promotion, and pricing. 3. What role does the alliance with Sirius play in Playbill’s marketing mix? Do you think the alliance will enhance demand for Playbill’s services? Explain? CASE ASSIGNMENT II: (Ch# 12) Current TV CurrentTV Plugs into the ‘Net Generation Ten years ago, the Internet began a revolution that has forever changed the way consumers shop for goods, send and receive mail, find and read news, and acquire and listen to music. A relatively new electronic distribution channel, the Web enables billions of near-instantaneous commercial, consumer, and information exchanges each day. And with the widespread dispersion of increasingly powerful and portable digital technologies, marketers are witnessing a new phenomenon – consumers devoting considerable time to archiving and sharing the personal events of their lives. Tech-savvy members of Generations X and Y are photographing, recording, cataloging, uploading, blogging, hyperlinking, downloading, and sharing peer-to-peer files at an accelerating pace. Moreover, the independent Web sites where those opinions, files, and reports are located are becoming an increasingly valid means of staying connected with the world. Quite simply, this phenomenon is turning traditional media channels on their collective ear. Few companies really comprehend that the digital technologies driving homemade reporting and entertainment productions are simultaneously increasing demand for them. One company that understands, and even anticipated, this trend is start-up cable channel Current TV. Cofounded, chaired, and led by the vision of former vice president Al Gore, Current predicted the relevance of do-it-yourself (DIY) media some time ago. Gore’s objective, as stated on Current TV’s Web site, is to democratize the production, distribution, and consumption of television. Years ago Gore recognized that the proliferation of affordable digital technology would make it possible to create "a powerful new brand of television that doesn't treat audiences as merely viewers, but as collaborators.” And those collaborations, fueled by viewer-created content (VCC), are powering the DIY media boom. Shari Anne Brill, vice president and director of programming at the Carat Group, an independent media agency, predicts that “Current will appeal to a much younger-skewing and very unique audience. It opens up tremendous avenues between Internet and television, and it's a very interesting way to reach out to viewers who want to participate in the viewing experience."
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