I love innovative marketing and I have great respect for the travel companies leveraging social media and mobile technology. I think some of the products we’re going to see released in the next six to eight months are going to put some serious distance between those willing to take risks on the trendy new gadgets hitting the market and the rest of the masses who are happy with the status quo. It’s painfully obvious that there’s not as many travellers willing to part with their hard earned cash as there used to be and those still willing to book online have a myriad of OTAs vying for their business. Just ask anyone who has been watching the battle between Travelocity and Orbitz heat up over the last few days, the fight for market supremacy is fierce! With all this focus on the digital revolution I was genuinely taken aback when CheapHotels.com.au took a markedly different approach to grabbing the public’s attention – a giant gorilla projected on the Sydney Opera House. Well, almost.
As reported in TravelMole, the OTA put in a 1 million dollar bid to project their logo as well as their mascot, a yellow gorilla, on the largest flag of the Opera House. The offer was rejected, but I’m torn as to how I actually feel about this. The Opera House is an international icon, one which most tourists wouldn’t expect to see turned in to a billboard. I would venture a guess that most Sydney-siders would also feel some objection to the monetization of an iconic landmark, but my confliction about using the Opera House as a platform to advertise a brand lies more with the marketing of the Opera House itself.
I won’t pretend to understand exactly what the opera house is trying to do with its marketing, but I can only assume from the 19 million dollar deficit that it has built up, they’re a tad confused. To use Bridgeclimb as an example, icons come with built-in reputation and a worldwide image, so what’s the deal? For one, distribution. Why are they not selling tickets for shows overseas? I will admit it would take a nimble distribution system due to the dynamic nature of both show ticket prices and availability, but the payoff would be huge. In other words, make the international wholesalers work for you. Lastly, what image do they want to portray? At the moment it’s a bit old and stuffy, could almost call it the grey market. More shows aimed at the younger crowd would reinvigorate the whole brand.
To recap, love the gutsy move by CheapHotels.com.au and respect the decision by the Opera House to reject the offer, but confused by Opera House’s reluctance to capitalize on multiple distribution channels.
Bridgeclimb is a great example of how to get an idea happening when everything, including the bureaucrats, seems to be put in you way. I'd love to have those sorts of resources to promote my new online accommodation booking site dedicated to the NSW Central Coast. Maybe someone might have some helpful directions They'd be much appreciated. bookcentralcoast.com.au
The Opera House, Sydney’s next billboard
As reported in TravelMole, the OTA put in a 1 million dollar bid to project their logo as well as their mascot, a yellow gorilla, on the largest flag of the Opera House. The offer was rejected, but I’m torn as to how I actually feel about this. The Opera House is an international icon, one which most tourists wouldn’t expect to see turned in to a billboard. I would venture a guess that most Sydney-siders would also feel some objection to the monetization of an iconic landmark, but my confliction about using the Opera House as a platform to advertise a brand lies more with the marketing of the Opera House itself.
I won’t pretend to understand exactly what the opera house is trying to do with its marketing, but I can only assume from the 19 million dollar deficit that it has built up, they’re a tad confused. To use Bridgeclimb as an example, icons come with built-in reputation and a worldwide image, so what’s the deal? For one, distribution. Why are they not selling tickets for shows overseas? I will admit it would take a nimble distribution system due to the dynamic nature of both show ticket prices and availability, but the payoff would be huge. In other words, make the international wholesalers work for you. Lastly, what image do they want to portray? At the moment it’s a bit old and stuffy, could almost call it the grey market. More shows aimed at the younger crowd would reinvigorate the whole brand.
To recap, love the gutsy move by CheapHotels.com.au and respect the decision by the Opera House to reject the offer, but confused by Opera House’s reluctance to capitalize on multiple distribution channels.
Comments anyone?