Affiliate Marketing Secrets

I believe that a good way to get more people interested in a certain niche industry is to link it with another fandom. I have been trying to promote the anime industry with my theme song polls and such. So far, I have been trying to lure members of the 80’s/90’s nostalgia movement and the Brony fandom in. Most of the time, I started by first introducing a year that provokes nostalgia (ex. 1993, 1985), and then posting the theme song of a nostalgic cartoon as the first. Then the second is the theme song of a show (or theme song of a show’s season or something like that) that came out the same year which I want to promote.
That’s how I got into anime. I entered the 90’s nostalgia movement and watched cartoons and such, which then lured me into 90’s anime and then radiated outward to other decades including the present day ones.
Do you think that is a good tactic?

Half of all fresh tomatoes in the U.S. come from Florida farms. This region that feeds the country has a dirty secret; working conditions there are so bad it’s referred to as America’s ‘ground zero for slavery.’
End Slavery in the U.S. Tomato
Florida’s tomato farms supply 50% of all U.S. fresh tomatoes but have also been called America’s ‘ground zero for slavery.’ Countless workers are held against their will, threatened with violence and forced to haul hundreds of heavy tomato buckets a day for little to no pay.
Right now is the worst part of Florida’s tomato picking season – the days are hot and there is tremendous pressure on growers to turn a profit, making conditions ripe for worker exploitation.
Thankfully, a new solution called the Fair Food Program enforces a policy of zero tolerance for slavery on tomato farms.
But a major U.S. supermarket chain, Publix Super Markets, refuses to support the Fair Food Program. Publix continues to buy tomatoes from growers whose workers still toil beyond the reach of the Fair Food Program’s proven protection from modern slavery.
Tell Publix to make the right decision to join the Fair Food Program and fight modern slavery in the U.S. tomato industry.

1. We cannot logically justify any ticket price whatsoever for a non-event film. There are too many better options at too low a price. Simply getting out of the house or watching something somewhere because that is the only place it is currently available does not justify a ticket price enough. We still think of movies as things people will buy. We have to change our thinking about movies to something that enhances other experiences, and it is that which has monetary value. Film’s power as a community organizing tool extends far beyond its power to sell popcorn (and the whole exhibition industry is based on that old popcorn idea).
2. The Industry has never made any attempt to build a sustainable investor class. Every other industry has such a go-to funding sector, developed around a focus on the investors’ concerns and standardized structures. In the film biz, each deal is different and generally stands alone, as opposed to leading to something more. The history of Hollywood is partially defined by the belief that another sucker is born every minute. Who really benefits by the limited options for funding currently available other than those founders and those who fee those deals? We could build something that works far more efficiently and offers far more opportunity.
3. The film business remains the virtually exclusive domain of the privileged. Although great strides have been made to diversify the industry, the numbers don’t lie. The film industry is ruled by white men from middle class or better socioeconomic backgrounds. It is an expensive art form and a competitive field — but it doesn’t need to be a closed door one. Let’s face it: people hire folks who remind them of themselves. These days everyone needs to intern and the proposition of working for free is too expensive for most. Living in NYC or LA is not affordable for most people starting out. We get more of the same and little progress without greater diversity. And although I essentially mentioned this last year, the continued poor economy limits diversity even more now.
There is no structure or mechanism to increase liquidity of film investments, either through clear exit strategies, or secondary capital markets. The dirty secret of film investment is that it is a long renouncement cycle with little planning for an exit strategy. Without a way to get out, fewer people choose to get in. Who really wants to lock up an investment for four years? Not investors, only patrons…
4. Independent Filmmakers (and their Industry advisers) build business plans based on models and notions selected from before September 15, 2008 when Lehman Brothers collapsed and everything changed. It is not the same business as it was then and we shouldn’t treat it that way. Expectations have changed considerably, probably completely. Buyers and audiences’ behaviors are different (those that still remain that is). Products are valued at different levels. We live in a new world. Our strategies must change with it.
5. The film business remains a single product industry. The product may be available on many different platforms, but it is still the same thing. For such a capital-intensive enterprise to sell only one thing is a squandering of time and money. Films can be a platform to launch many different products and enterprises, some of which can also enhance the experience and build the community.
We have done very little thinking or discussing about how to make events out of our movies. The list seems to have stopped at 3D. There’s only been one “Rocky Horror Picture Show” and the first one is very very old. Music flourishes because the live component is generally quite different from the recorded one, and the film biz could benefit from a greater differentiation of what utilizes different platforms.

undifferentiated
or
differentiated
or
niche
thank you

I understand that the music industry sells records, merchandise, concerts, etc, but how do music bosses make there millions. What are some trade secrets?

Do you guys actually believe artist sell their souls or do sacrifices to get their fame ? Sometimes I think “why can’t a celebrity just be talented and made it their on their own” but you start doing research and putting dots together and might just think it’s real