In Conversation with… Sabian Wilde

Marketing Lecturer. Writer. Music Bod. Claims to have coined 'Perthonality'

Archive for the ‘Employment’ Category

Does my business need to be on facebook?

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My, my; but it has been a long time between drinks, hasn’t it?

But as another cliche puts it: If you haven’t got anything nice to say, blog away until discomfort passes, using your custom keyboard that only accepts keystrokes made in blood don’t say anything at all…

Fortunately, I find myself with rather a lot of nice things to say.

I’ve recently taken up a position as a Marketing Lecturer for Music Industry Business students.

I love teaching — it provides (a) a reason to organise all the things you think you know into tiny units of communicable information, and (b) an audience that had better damn well listen.

So much for my stand-up comedy aspirations.

Anyhoo, I was asked if it was necessary for a music business (not necessarily a band) to be on Facebook, to which I replied, “Not really — noone does any real business on FB.”

In response: “People do business on facebook all the time — excuse me, I’ve got a Skype-call coming through…”

[commence rant]

Taking the opportunity to organise a considered reply, I offer you all this (in recognition that this blog had ceased to be useful).

“People do business on facebook all the time”

To my mind, this isn’t quite right.

People don’t buy, sign contracts or conduct credit checks using facebook.

People conduct elements of their business activities online using facebook, but ‘business’ in and of itself (ie. commerce; transaction of goods and services in exchange for $) doesn’t really occur at all. Even the much-ignored advertising that accompanies the delivery of social media doesn’t result in an actual sale — it simply directs you to places where commerce can occur.

Social media is a new (but relatively recent and ever-changing) tool which artists/businesses can use to promote their goods, or develop professional networks with people they hope to conduct actual ‘business’ with (networking up).

Used well, social media can also be a powerful tool for developing your fans and customers into communities — Seth Godin calls them tribes —  groups that are better able to link with one another and/or organise themselves to undertake additional business activities (predominantly marketing and promotion) on your behalf, ie.testimonials (word of mouth/third party advocacy), discovering new audiences or creating a presence that can be easily found by others — in some cases, people who exist in markets outside your direct influence or awareness.

Because of the nature in which people use digital media, I’ve made a distinction between fans and customers
(people who like your products/services and people who actually pay for them). Traditionally, one could easily make this distinction using bands such as The Wiggles — the person who buys the product isn’t necessarily the person who consumes the product.

Given the varying ways and levels of sophistication with which people engage/use/consume digital media – this distinction becomes less obvious — are the people that are championing your product/service/brand online people your customers?

I won’t get into piracy, IP or ‘traditional sales’ issues here, but it is pretty clear across most forms of digital media (Music, Film, Gaming etc) that the purchase of a product is not nearly as important to modern consumers as the enjoyment of that same product.

However, there are a couple of points on the nature of digital consumer culture that deserve a mention here — the emerging and unreliable philosophy of “try it — and if you like it, buy it” which can result in actual sales — sometimes long after the initial release and accompanying marketing strategy have run their course.

There is also the important (and hard to measure) influence of product/brand ‘champions’ — people who have discovered your business through non-traditional (and sometimes illegal) means, but then actively promote on your behalf — buying legitimate copies for friends or producing indirect sales by introducing the product to their peer groups and/or social networks.

Social media can also be a powerful tool for market research, conflict resolution, customer identification and retention — most of which are elements of Customer Relationship Management (CRM) [see Wikipedia — in particular the section on Social Media]

But REMEMBER – the development of communities or tribes requires a lot of interaction; opportunities for individuals to engage directly with your business in a manner that they feel is both practical and personal, interactions that ‘feel’ meaningful to both parties.

Ultimately, I believe that this requires a lot more time, effort and skill than most businesses might expect –it’s a form of communication/engagement that;

  • is difficult to measure in terms of the bottom line (time and resource management versus sales).
  • inherently exposed to risk (real-time publishing within the public domain) with potential public relations debacles.
  • needs to be tailored to the strengths and nuances of the different (and emerging) social media platforms.

Keeping all of this in mind, I believe the short answer to the “does my business need to use social media” question is this: Not necessarily.

The long answer is more like this: devotees of social media (your perceived or potential market base) are often deeply engaged and quite sophisticated in their use of specific platforms. Accordingly,  there are two common traps for businesses with regard to social media:

  1. the belief that a business must engage in social media; and alternatively,
  2. the belief that social media is an ‘add-on’ or ‘plug-in’ to existing/traditional business activities.

My belief is that a business that does not use social media is better off than a business that uses it badly.


Written by Xab

Thursday, September 1, 2011 at 4:56 am

In Conversation With… Capitalism

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First published in X-Press Magazine


Alternate promo poster for Capitalism: A Love Story

Directed by Michael Moore
Starring: You, Me… Everybody, Everybody.

Few people could say there’s no need for a hard-hitting documentary providing insight into the people, institutions and circumstances that combined in what is now known as the GFC.  Capitalism: A Love Story has already grossed over US$13.6M at the box office, and that doco still needs to be made.

It’s been said before, but in light of the latest promotional chutzpah Moore has been spraying through Australian media channels in the last week, perhaps once more is appropriate; Michael Moore is the Johnny Knoxville of socialist (or humanist) film-making.

Moore has said he ‘tricked’ his studio backers by saying he was making a sequel to Fahrenheit 9/11, then using their  money to make his story on the GFC.  Well, it wasn’t much of a trick – Moore’s shockumentary tactics are now so well-established that future films may well use roman numerals for titles.

Importantly, given that the GFC has been the subject of more media scrutiny, financial analysis, vox pops, international policy etc – than any other event or phenomenon since 9/11, the truth is that there is very little or new or surprising in Capitalism… it’s Michael Moore weighing in with his two cents.

As a documentary film, Capitalism isn’t exactly a taut, well-executed  argument. There are sympathetic vignettes about the real struggles faced by various communities; inspirational stories of solidarity; alternate business models that empower all participants – but nothing much that hangs them together other than Moore himself.

The first half of the film is designed to connect with audiences the important idea that the economy is not an abstract entity, but the sum of the endeavour of the majority, under the control of a select few.  The failure of the system – incrementally, over decades – has a social cost, and Moore succeeds in putting ‘human faces’ to the flood of red numbers on Wall St stock tickers.

The second half of the film is, in theory, Moore’s attempt to explain the global financial crisis, and some of the self-interested parties that either (a) caused it and/or (b) found a way to profit at the public’s expense from the collapse of the free market – or ‘life as we know it’, if you’re one of those evil Republicans or their Wall St cronies/overlords (depending on how you look at it).

Moore’s attempt to explain the sub-prime market is no attempt at all — just a pretext to rail against the complexity of a scam that has been perpetrated on the American people (and countries like Australia that invest in their financial instruments and institutions) – incidentally, there’s an interesting take on it that most people can understand here:

Moore requires the bad guys to be bad, so he can be the white knight storming the gates. He names names, points the finger and then films himself being refused entry to a number of buildings. Rinse, lather, repeat.

Where Moore does succeed,  is in his look back on recent US history – in reminding the audience of Roosevelt’s ‘New Deal’ and the proposed Second Bill of Rights, of the importance of the collective will to improve life for all – in short, the promise which America made to itself, and then sold… and then hope, again, with Obama.

In Michael Moore’s latest film, we learn ‘Greed is Bad’, OK? Sure Oliver Stone made the phrase ‘Greed is good’ famous 21 years ago in Wall Street, but apparently the ironic overtones were lost on some people and now we all have to pay.

There’s a saying that goes like this: In the country of the blind, the one-eyed man is king.

In the world of American film-making, it is all too easy to imagine Michael Moore and Oliver Stone beating each other to death over who gets to have the eye. Come to think of it, that would make for pretty entertaining television. Perhaps Simon Cowell can get on that.

But until that happy day, we will get to live in a world where certain American film-makers feel that it is their duty to explain America to itself, knowing that a significant percentage of the ticket and DVD sales will come from other territories eager to hate the U.S. a little more for being… well… so gosh-darn arrogant and smug about everything, despite aggravated terrorism and a few armed conflicts around the world.

Well screw that. That is a job for film reviewers.

Written by Xab

Thursday, November 5, 2009 at 8:00 am

Interview with the writers of Mao’s Last Dancer

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I recently had the privilege of speaking to Li Cunxin, writer of Mao’s Last Dancer and Jan Sardi, the Australian screenwriter who adapted it for the screen.

It was the kind of interview that you need to have once in a while, to remind you why you do what you do.

The interview was conducted on behalf of (Cool) Shite on the Tube, courtesy of the very good folk who represent Roadshow in WA.

This is a great, primarily Australian production (directed by Bruce Beresford, produced by Jane Scott and written by Sardi) that places Australia’s artistic and technical talent as the foundation of a compellingly told international story.

Please visit (Cool) Shite on the Tube to download the podcast.

Mao's Last Dancer

Mao's Last Dancer

Written by Xab

Wednesday, October 7, 2009 at 10:20 am

The power of a good headline… Booty fever

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On Thursday, 29 September 2005, I managed to become the number one Google search result for ‘Booty Fever’, bypassing hundreds of adult-ass-oriented sites with the following story, written for the now defunct…

Robot sparks Robinson Crusoe booty fever

Booty seeking robot...

Booty seeking robot, Arturito...

CHILE-based Wagner Technologies ignited a fierce fight for gold after the company claimed it had discovered an 18th century treasure-trove of buried pirate booty worth $US10 billion using a metal-detecting robot named after the movie Star Wars’ R2-D2.

The claims of hidden treasure are being given credence because the robot, Arturito, is something of a local celebrity, credited with discovering a large weapons cache belonging to a right-wing militant colony in southern Chile.

Arturito also discovered the remains of businessman Francisco Yuraszeck, who went missing in 2004. In both investigations officials called in the Wagner Technologies robot after being unable to solve the cases by traditional investigative techniques.

Arturito is equipped with advanced sonar technology able to scan the atomic composition of materials such as water, metals and petroleum buried up to 50m underground.

Wagner claims its crime-solving robot has discovered the missing treasure buried by Spanish navigator Juan Esteban Ubilla y Echeverria on an island off the Chilean coast in 1715. The treasure was believed to be found by British sailor Cornelius Webb, who proceeded to bury it elsewhere on the same island.

The island is also famous as the place Scottish sailor Alexander Selkirk was marooned for five years in 1704, inspiring Daniel Defoe’s Robinson Crusoe novel. The island was officially named Robinson Crusoe Island in 1966.

Wagner’s claims of discovering the missing treasure has sparked a battle for rights to the treasure, with participants including the Chilean Government and the 600 residents of Robinson Crusoe Island.

Wagner has refused to divulge any details on the location of the discovery until it is assured of a 50% stake in the treasure. Because Arturito uses sonar techniques, no digging has taken place at this stage.

The island itself is part of a World Biosphere Reserve due to its unique flora and fauna.


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Robert Connolly is fast becoming an important figure in Australian cinema, both as a producer and a director. In 2001 he received a Centenary Medal (marking 100 years since Federation) for services to the Australian Film Industry, just four years since the debut of his first feature film as a producer, The Boys.

As a director, he has released The Bank and Three Dollars (both starring David Wenham) and his latest feature Balibo, which tells the story of the invasion of East Timor by Indonesia in 1975 through the lives and deaths of six members of the Australian media – a story that flatly contradicts the official version of events that has been maintained by the governments of Indonesia and Australia for more than thirty years.

In Perth for a special ‘Talking Pictures’ Q&A preview at Luna in Leederville, Connolly met with Sabian Wilde for X-Press Magazine to discuss the making of Balibo.

Robert Connolly

Robert Connolly

First of all, congratulations on Balibo, it’s an amazing piece of work. How did you find out about the story and what drove you to bring it to the screen?

I found out about it back when I was 26 from Tony Maniaty, who was the ABC journalist in the film. Tony wrote the short film that launched my career, Mr Ikegami’s Flight. He was on a literary board attachment at the AFTRS where I was studying and he told me the story – I couldn’t believe it – then of what had happened to him when he was much younger.
But I didn’t pursue it as a film until many years later, when Anthony La Paglia brought me Jill Joliffe’s book Cover-Up. Anthony and I had been looking for something to do together after The Bank, and I guess initially it began a journey of wanting to tell the story of the Balibo Five, but then ultimately, by going to East Timor and getting to know that country and the experience of being there, falling in love with the country and wanting to tell the story of the tragedy that befell East Timor as well.
I think it’s a journey that parallels the way a lot of Australians find out about East Timor through the Balibo Five, and then learn more about what happened to that country.

There’s a scene in the film in which a young José Ramos-Horta [now President of Timor-Leste] and Roger East [veteran Australian journalist] have a fight about whether the Australian media cared about the plight of the Timorese and East replies, “Yes, I do care about those people, but my readers don’t”… Obviously, Horta knew that the journalist’s experience would raise awareness of his people’s position, but it does raise questions: If Horta is one of the central figures in the story of the Balibo Five, why hasn’t the story been told until now? It’s not as if he’s been quiet for the last thirty years.

I wanted to show that aspect – as a politician early in his career, he knew the value the journalists would have in telling the story. This was late in 1975, and we know that one of the reasons Vietnam came to an end in early 1975 was because journalists got footage out, which turned public opinion against the war.
This would have been very much in Ramos-Horta’s mind; this idea that these journalists could help his nation’s cause. I think the ideals of the politician that he was to become isn’t quite evident, in that there are times when you’re not sure of his motivation, but I think it does become clear that his motivation is to save his nation at whatever cost.
That’s why that scene with him and Anthony [LaPaglia, Roger East] fighting is really interesting – I think Australians have to ask, ‘Would we have cared as much about East Timor and helped it become independent in 1999 if five Australian-based guys hadn’t been killed there in ’75 and the story hadn’t stayed alive in our national story as a result’?

It’s interesting to look back at that time and see what has changed and what has stayed the same. The rivalry between Nine and Seven – it’s not until the Timorese ask them why the invasion is happening that they realise that the imperative has changed from the ‘news imperative’ of being first to the ‘journalistic imperative’ of telling the truth…

That’s why in the morning, you see them sharing and hiding footage together for the first time. In my mind, that’s when they became the Balibo Five; when they woke up that morning, and it didn’t matter what network they were from because the story had become bigger than any of their own personal ambitions or rivalries. They became a collection of Australian-based guys who found themselves in a point in history with the possibility of documenting this invasion.

East’s character was introduced after you’d already decided to do the film, but apart from the gravitas La Paglia has, I think there’s a real advantage to the story in having the older journalist included… just in terms of how young, and how little the Five knew. That point at which it goes from gung-ho to the point where they realize its not a game, and they’ve lost – so badly.

I think the age issue in the film is really important. When I was casting the young men, I tried to find actors of similar ages. Often you have stars in their thirties who can play people in their twenties, that’s the tradition. I wanted people to watch the film and think, ‘God! They were so young!’ Also, it highlights the contrast between the young journalists and Roger East, who was 52. I think the age was very important to the telling of the story.

With The Bank, you created a carefully constructed suspense thriller, and an intense character study with Three Dollars; when you’re attempting to tell a ‘true story’ such as Balibo, you obviously have to serve the narrative in a different kind of way…

It’s like an evolution through my work, trying to move away, actually, from the sort of storytelling I was doing with The Bank. It’s interesting being here, with that homeless thing [ABC 720 Drop Your Jocks] that’s happening in the malls. In Three Dollars, the scenes in the homeless refuge was the beginning of me thinking about a whole way of working with non-actors. The whole philosophy is to observe the drama with the camera, rather than construct the drama.
We set up the drama with real people in real places, and put our actors in that situation and then observe them with the camera; we get a sort of visceral authenticity from that. Part of that was taking the actors to East Timor and to Balibo, in an attempt to get them emotionally into that headspace.

The production notes say you had access to Balibo Five journalist Greg Shackleton’s East Timor diaries – how did they get unearthed?

The Indonesian Government handed over a whole heap of personal belonging to the Australian Government after their death, including a box of bones which were buried in Jakarta. That’s how the diaries got back… and they’re really comprehensive. Damon Gameau used it as a guide to his character. It was an incredible resource to have, those diaries and some of the letters that the men sent back.

Because they’re so young when they die, I’d already started thinking of Breaker Morant – it has that kind of ‘shoot straight you bastards’ emotional depth, even though there’s no dialogue in that scene… and then you surpass it with the death of Roger East … You’ve created an incredible moment in Australian cinema.

It was a very particular choice in the death of the five men not to use slow motion, not to use any of those cinematic techniques; it’s just a brutal, observational thing. I didn’t know if it would work when we were doing it – the danger is that its in the film, and if you just have brutal, simple coverage of it, does it just dissipate the tension? The Hollywood thing to do is to ramp up the tension, slo-mo of knives going in and out. But the observational style did work, although I wasn’t sure until the edit.

You’ve chosen to tell a true, untold story, which means you have a strong obligation to keep to the facts wherever possible… but in the climax, I have to ask; was East really separated from everyone else when he was murdered on the pier?

Well, they had a kind of process line on the pier, killing hundreds and hundreds of people. They liked to shoot people in the back of the head, but he refused, he looked them in the face and they pushed him up against the pier, and he just refused. There were guards telling him to turn around, but in the edit, it seemed to work better to stay on him screaming ‘no’ and witnessing the horror that was happening to the East Timorese.
There were lots of witnesses to his murder. That’s the only thing that two Australian Government enquiries have confirmed – there’s no doubt that he was murdered on that pier.

The film weaves three timelines together, two of which are just weeks apart. In a sense, it kind of maintains the ambiguity of Ramos-Horta’s motivations as you discover he’s been involved with all of the journalists… Has Ramos-Horta seen the film?

Yes, he came to the Melbourne Film Festival opening and I sat next to him. He was very affected by it and he got up on stage and made this amazing speech. He said, ‘this film makes me feel the great tragedy of the atrocities post WWII’; he spoke of the film in terms of the greater question of how it is that human beings can do this to each other. It was such a moving speech, he talked off-the-cuff for twenty minutes and everyone was silent… it was very moving. He’s been so supportive, and it was great to have him up on stage with the families of the Five – it was incredible.

It’s an Australian story, but one would think it would be very significant to the Timorese as well… the production of Balibo was structured to provide additional support to the Timorese so that they can tell their own stories. How did that work?

Yes, we have a shared history… there were a layer of trainees throughout the production. I had a trainee Timorese director, and every department had a Timorese trainee. Part of our process was to make sure that when we left, there would be a team able to keep making film. I believe there’s a television series they’re going to make up there. It would be wonderful to see them going forward, but it was also incredibly helpful to us. My trainee director knew the people, spoke the language and was able to advise us on cultural issues I may not understand, or wouldn’t have even known without him.

How has this story not been told?

It’s staggering, really. Gallipoli took 70 years to make – Breaker Morant took 90… this is 34 years, which I guess you could consider to be quick. But why has it taken so long? That’s an interesting question. But I don’t know the answer.

You’ve received funding from the Australian Film Commission for Balibo, so you’re receiving funds from a Government to tell a story that they still deny or do not acknowledge?

We’ll wait and see what happens this year… The coroner has made findings that the Five were murdered. Those findings have gone to the Attorney-General and are now with the Australian Federal Police. The Australian Government is going to have to make at least a decision on whether they accept the findings of the coroner that they were murdered.
And they clearly were – the coroner was very rigorous in her findings. With our legal system, it’s very rarely – if ever – that a Government would stand up and have a conflict of view with the coroner… that’s not how it works. That’s going to happen in the next month or so, so we’ll soon see.

You’ve worked on this project for a long time, but it sounds like that the release of this film is in some sense the beginning, that the film will play a role in helping the story resolve itself.

I hope so. I hope it plays a role in telling the truth – a lot of people don’t know what happened there. I’m hoping this will be a chance to see the truth of what happened.

Just as a matter of trivia – The Boys was 98, and you won an award for your contribution to Australian cinema in 2002… that’s pretty quick!

[laughs] Well, I’m still contributing.

From the Archives… Eskimo Joe: Be vewwy vewwy quiet; It’s WAMI season (2002)

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No song this week while a few issues get sorted out… so enjoy this blast from the past.

Kavyan Temperley (with Bruce from

Kavyan Temperley (with Bruce from

The Final Hoo-Ha
Kiss My WAMi 2002


By Sabian Wilde

Eskimo Joe
’s involvement with Kiss My WAMis is pretty much as old as the band itself, and like the festival, the band has progressively moved on to bigger and better things each year.

“I guess it’d have started for us in around ’98. We kind of had this habit of releasing our CDs in late July, just before the Kiss My WAMis start, so we seemed to ride the WAMi wave each year – except we’ve blown it for the last two years,” says Temperley, laughing.

Given the success that the Joe have enjoyed in the intervening years, Temperley has a different perspective on the WAMis, one that is surprisingly positive. “I don’t know that it means as much to us as it does over east,” he said.

“You go over there and people are like, ‘Wow! You’ve won a WAMi!’ and you’re like, ‘It’s a chocolate cake, dude.’ Over here it’s like, ‘Cool, it’s the WAMis, let’s get drunk and check out some gigs.’ I think it’s good that people get excited about it, but it’s really more of a national interest type of thing, it gives them a good reason to come over and check it out,” he says.

“The fact that we’re so isolated and bands like us and Jebediah have stayed in WA, and you’ve got bands like Halogen, Cartman and The Fergusons as your really big up-and-comers, WA has created a scene that you can’t find anywhere else. No-one else has a scene – there’s no ‘New South Wales scene’, no ‘Victorian scene’.”

The strength and diversity of the ‘WA scene’ will certainly be represented in full force for the Closing Party even, where Eskimo Joe will be joined by Lash, Effigy, Sodastream, ASG, Purrvert and newcomers Josivac for a night that promised to one one hell of a musical experience —  and of course, a lot of chocolate cake.

“They’re pretty hardcore chocolate cakes,” says Temperley. “You can only really eat one cake among a couple of people, so there’s always one cake that ends up going mouldy if you’re one of those lucky bands that wins more than a couple of awards. We won three one year, and my brother (Trilby Temperley, ARG) accepted the cake for us and we never even saw it. He used to be really skinny – he’s huge now.”

Many of the nominees in the categories have already been recognised by their inclusion of the Kiss My WAMi compilation, a comprehensive industry ‘sampler’ sent to radio stations across the nation, highlighting our local talent. The impact of this sampler is often underrated here in Perth, because most of the good work it does is interstate.

“That first CD on the new WAMi compilation is awesome,” says Temperley. “It’s the best WAMi CD I’ve ever heard. The Halogen song is unbelievable and the Sleepy Jackson song is really good and our song on it is…kind of crap…I joke, I joke!”

Needless to say, the sampler often acts as an introduction card for many acts who later on release their own albums and find that interstate radio stations are more than happy to pick up their work.  This can easily be seen by the success of both out independents and major label acts, both recognised by the album and EP categories of the WAMi awards. Just as important is the fact that although there are major label entries in these categories, it’s by no means a guarantee to win.

“I know,” agrees Temperley. “It’s interesting, but I’d say it’s just the first time we’ve had major label releases to put in that category. I mean, Jebediah used to be the only one, but the thing is that you have people like Halogen and Cartman, who aren’t signed to a major label but are doing equally as good in terms of getting radio airplay. I would count that as being just as important, because in the end it really comes down to radio.”

So, as you can see, there are many forms of success and recognition, whether it be cake, compilation or gig – the Kiss My WAMis just make it bigger, better and more fun. Temperley couldn’t agree more, “It’ll be awesome to play the final show – a hoo-ha!”

Written by Xab

Wednesday, August 5, 2009 at 3:45 pm

Open letter to PR industry body.

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To whom it may concern,

Why is there no ‘opt out’ or ‘unsubscribe’  option on your mail-outs/newsletters/invitation to pay for masterclasses?

I’m sure you are well aware of the legalities of unsolicited email, but a reminder never hurts.

Australian spam law—the Spam Act 2003—covers email, mobile phone messages (SMS, MMS) and instant messaging.

Any commercial message sent to you that doesn’t meet the following conditions is breaking Australia’s spam laws:
Consent—it must be sent with your consent. You may give express consent; or your consent may be inferred from your existing ‘business or other relationships’, or certain other restricted conditions.
Identify—it must contain accurate information about the person or organisation that authorised the sending of the message.
Unsubscribe—it must contain a functional ‘unsubscribe’ facility to allow you to opt out from receiving messages from that source in the future. Your request must be honoured within five working days.

Legality aside, I also consider it a matter of common courtesy — not to mention the obvious advantages of knowing your audience and delivering the message in a format that is both appropriate and useful to the recipient — principles which I believe will probably be included in any Masterclass given by a former PR-XXXX General Manager.

I understand that my contact details would have been picked up during my time as the XXXXX’s Public Relations Officer — a role I have not held for about a year.

Nor am I a member of XXXX.

I have repeatedly asked for my name to be taken off people’s mass mail-out lists, but as usual, there is a reason why people are frequently disparaging about the public relations industry — such as the inability to tell the difference between the size of a contact list and the quality of the contacts on it (what a strangely masculine paradigm).

As a result, my email address is collected, distributed, acquired, repurposed and redistributed by every PR hack using a shotgun instead of a laser for targeted messaging.

Well done.

Oh yes… given that this is the second or third time I’ve been sent this invitation, I feel justified in venting.

Are sales not going well?


But more importantly, take the time to ensure that your emails are reaching the right audience, meet the legal requirements and don’t put your industry into further disrepute.



Written by Xab

Thursday, May 28, 2009 at 11:03 am