Episode 52 — When Cookies Crumble, Part 2: An Interview with Dave Coulter Of Daily Driven Exotics

Without third-party tools like cookies, advertisers will have to work harder to reach the right audience — or will they? In fact, creators are already in the business of curating highly engaged audiences. And the right brand partnered with the right creator can mean life-changing growth potential for creators and lifelong brand loyalty from their audience.

Today, Dave Coulter joins us to talk about how Daily Driven Exotics got started, the impact of brand partnerships, what he thinks about the changes coming to third-party data, and the wisdom of letting creators do the driving (literally).

(0s): We actually use Scribd in our home.

(3s): Do you really love your Sleep Number? And we do.

(23s): We’ve been talking about the power of creator marketing for advertisers, particularly in the lead up to the not too distant future. When browser cookies go the way of the Brontosaurus, but what do creators have to say about it today? We’re joined by Dave Coulter of daily driven exotics whose YouTube channel boasts 3.19 million subscribers and counting to hear his take on the power of creator driven advertising, amid the coming changes. Dave, thanks so much for being on the show today.

(47s): Thanks for having me.

(49s): So for listeners who might not follow you get, I’d love it. If you could just introduce yourself, tell us a little bit about the show and how it all got started and how you got to where you are today.

(58s): So the show is called daily driven exotics. We prominently post content on YouTube, but honestly we’re everywhere at this point, but all started with the YouTube back in 2012, my business partner, Damon fryer always had a huge passion for exotic cars. In fact, I knew him when we were teenagers and back then it was Honda’s and he was obsessed to the point where it’s all he looked at was car magazines back then, or in parts, he actually built his own carbon fiber parts in the garage. So I always knew that cars would be in his future. Unfortunately, back then, early two thousands, there was no Facebook. There was no Instagram. There was really, there was chat forums and that was it.

So, so we actually lost contact as life moved on, who got married, had kids and so forth. And then fast forward to 2015, I was a district manager at Starbucks. So I had 13 locations. I had a colored shirt. I was very unhappy. I thought this would be like the dream corporate job, because that’s what I was kind of formed to thinking, but I wasn’t fulfilled. And law of attraction would state that something would come to my life one day that would align me. And it did, it was a block for Ferrari four or five eight, and one of my store parking lots.

And I pulled in and I never, I knew what Ferrari’s were, but at that point, my thermostat was not even near the point of understanding a Ferrari. I was looking at BMW. That was like my dream. At that point, I was still in the cars, but on a lower level. And I walked in and I saw Damon and I immediately knew that was his car. It just made sense. So I sat down and I was like, Hey dude, it’s been, you know, 10 years, maybe more what’s going on. And he basically explained he was an email marketing and then he was doing Facebook marketing. And so as an ad buyer, he had an agency and I was really curious and it was kind of like, I always tell the story, like if you’ve seen Wolf of wall street, when Jonah hill walked to the restaurant, it was almost exactly like that.

And I was like, so I know how much money you make. And at that point, you know, he was having weeks where he’d make what I’m making a year in a week doing online marketing. Wow. And in that moment, like my first suspicion was okay, there’s no way because when you’re working a regular job, like the idea of anything more than, you know, a certain dollar amount and just your, your brain can’t wrap around it anyways. So we’re chatting more and talked about his company. We all talked about daily driven exotics, which was a YouTube channel he had started. And he was trying to figure out, you know, how to really build that as a media company.

So instead of doing like, you know, Facebook where you’re buying ads, trying to convert ads and so forth or email having your own audience and you have direct control and access to your audience. So he kind of was trying to understand how he could build that channel so that he made a living off that sort of doing something, you know, not as fun, like Facebook ads. So at that point he had just started vlogging. So originally he had a camera, got follow him around. He wanted to be like, you know, Ken block, just drive a car sideways, don’t talk to the camera, just make cool videos. But he quickly realized that that wouldn’t be profitable based on the cost of production and what the internet was craving.

So he started holding the camera and talking to it and just documenting his day. And it started off really basic in a small town in Victoria. He had a Lamborghini at the time and he would go get a haircut and you’d go get lunch. And he would just daily vlog inspired someone like Casey Neistat at the time. And around that time, he offered me an opportunity to leave my corporate really boring, miserable job for a piece of the company. That was it wasn’t pre-revenue, but it was certainly a little bit of money there. Wasn’t really a lot to take a paycheck at that point. So I said, well, I can do DDE at night.

So what I would do is I would work my day job eight to five, eight to six. And at night, my role was brand deals. So D D was starting to make videos. I think it had 60,000 subscribers. I starting to get decent views. And he’s like, well, to obviously to scale any business, you need revenue. And, and that deal was, it was brand deals. So my job was outreach. There was no inbound at that time, we were too small, maybe a one or two emails, but it was pretty much up to me to sell the brand. So I would go on Instagram every night, even during the day, while I was working, to be honest with you, I was double lending a little bit. I would just DM hundreds and hundreds and hundreds of companies and try to sell a DDE.

And I would probably have a 1% success rate, but that 1% success rate was the biggest accomplishment in my life. When I could call Dan and be like, Hey, you know, I got this dash cam company they’re going to give us, you know, it wasn’t a lot of money back then based on our size of our brand, but the satisfaction, knowing that this is possible. As soon as I landed my first brand deal, I was all in. I was like, this is real. This is a real business. This is a real world. I met a few people that did YouTube that were making really good money. So then Damon was kind enough to say, well, I’ll give you a salary to replace your income.

What do you need to live? And he said, we’ll figure it out. I’ll pull from another company or whatever. So he really gave me the opportunity to jump fully into this brand and just seeing my hunger and knowing that how committed I was, that it was a risk he took and it was, I took and it worked out really well. And then that would’ve been 2016 and then eventually he was like, Hey, I’m filming a video today. Do you want to come hang out or watch the process? And then that formed into me being on camera. And then today, now we’re the co-hosts. So we basically filmed pretty much everything together. Damon leaves the videos pretty much holds the camera most of the time and I’m support cast.

And there’s times where all lead a video that he won’t be in. But primarily that’s, my role is kind of like the punchline. So Damon’s driver, he drives cars and does crazy things in cars. I’m more of a luxury car kind of guy, Bentley rolls, Royce, Mercedes backseat, massaging chairs, he’s race, car, uncomfortable car sideways. And together, we really create this really cool chemistry on camera, where I tell jokes and be kind of a smart ass, or Damon’s more of the bad-ass with the cars. And it’s really built this crazy global brand where people now will pay us just to come to an event with other camera, just to see us and do our thing for their audience.

And it’s, it’s pretty wild to see how it’s evolved. And when you’re working so hard, you don’t really stop to realize the size of your brand or where you’re at, because you’re so focused on making a video and just to today and tomorrow, when you stop and look back at where we were two years ago or five years ago, it’s pretty wild. So that’s kind of been the, my path with diligent exotics and how it’s kind of led up to this point today.

(6m 50s): That’s such a cool story. I love that you gave a full picture of like how you started and where you were at before and how the brand has evolved. I’m curious to know, I looked at your numbers right now. I think it was something last time I checked, it was something like 3.1, 9 million followers or subscribers on YouTube. There’s like a million people subscribed to you guys on tick-tock. I’m curious how you think about the community right now are, you know, are those primarily people who are just as in love with cars as you guys are in different ways or what ties your audience together?

(7m 21s): Yeah. So if someone’s listening right now, I haven’t watched her video. I’ve encouraged them to go watch one, to kind of see what our brand’s about. We’re not techie, we’re not informative. We’re not serious. We’re entertainment first and foremost. So we both love cars. We love the engineering. We love everything that happens behind that, but we understand how to scale this and needs to be less Nishi and more about the lifestyle behind it. So the best way to strive it, I use this pitch all the time is pitcher entourage, the show on HBO and top here. So you have the commodity of the guys and the come up and that shenanigans and the lifestyle with the cars in a lighthearted way.

So our, our audience primarily is male. You know, 25 to 34. We actually have more people over 65 and under 18 watching our videos. I mean, obviously it’s heavy male, but there’s a lot of female demographic because again, how I produce them, the goal was always, if you know, the husband’s watching the video and the wife walks by and looks over, she’ll be entertained enough to watch it and get into it as well. And we’ve seen that happen by making again more open source. And the fact that it’s fun, it’s like, Hey, today, we’re going to do this. We’re taking this car. We’re going to go on this road trip. We’re gonna do this adventure. It’s going to be crazy. And that’s the video.

So it’s you get to follow along. And we have a responsibility to our fans that a lot of people that are watching, it might not experience meaning seeing the Lamborghini in person or even being on an airplane. And we’re fortunate enough to build this brand where now we constantly travel. I think one year we did 180 flights. We own 15 exotic cars. We have this big fleet. So the idea would be come with us. Like you might not be able to experience this based on where you’re at in the world or where we’re at financially, this point in your life, but don’t worry. You’re with us. You’re one of us. We’re going to take this car and do this today. And you’re coming with us. We talked to you, I contacted the camera, experience it, what it’s like, the noise is.

And not only that, but also the places that we get to go. We just finished Monterey car week, where we spend time with like the CEO of, of Maserati, had a conversation with him, the creator and founder of cunning ag like access to things like that that are not common and ask questions at the average person would want to ask around the cars and the lights and things like that. So I think, I think that really speaks to our focus on a big audience and not initially audience, obviously automotive is more niche-y than say music. However, we’ve expanded it to the point where it’s not so an approachable and a story behind that would be when I was younger and I’ll be at a gas station or before I pull in and I’ve never seen a fry before.

And I walk up to the driver and his role is window up because there’s a certain back then. And probably still today, there’s a certain light. Why before and you don’t, you know, if you see us in the gas station and you see, how did they, Hey, that’s a cool car. We’ll say to you, I go sit in it. Like we really want to bring this exclusive world of, of, of super cars, hyper cars to everybody. And we do a lot of fan meets where we’ll say, Hey, we’re going to be here at this time. Or we were on Gunwale rally. Recently we had a fan meet, basically every stop on location. And we pull in and there would be three, four or 5,000 people chanting DDE, which is terrifying all at once.

Like all these people and using your best off with the camera. But Damon, I will stay there for three, four hours to get a picture with every single person shake everyone’s hand to give as much time as we possibly can, because we understand that without them, this goes away and there’s a huge responsibility. We have to make that inclusive.

(10m 25s): Yeah. I can really feel how much you guys are connecting just in how you’re telling that story. It sounds like in a way you’re kind of connecting to the younger, you, you know, the people who are just as passionate about cars and maybe don’t have as much access. And I love how you’re bringing that, you know, potentially kind of exclusive and you know, far off experience to more people. And it’s, it’s just awesome that the internet even makes that possible. And it’s a really cool time. So one of the things we’ve been talking about recently on the podcast and part of why we’re talking today is thinking about how brand partnerships may be impacted by some of the changes in data and privacy.

Obviously like as a brand partnering with a show like DDE, there’s, there’s a lot of reasons that that partnership works. And one of the things that advertisers care about is understanding the performance impact of working with certain creators and as a consumer, you know, globally people are, I think generally happy that cookies may be going away because it means less tracking for them personally, but, you know, advertisers are sort of bracing for impact. And the question kind of came up for me is, are creators worried about this?

And if not, why not? And if so, why? So, so I’m just curious from your perspective, how do you see this impacting you guys as business owners as a show?

(11m 42s): Yeah. Good question. I think, you know, perspective of a marketer, which is what we are first, before even a creator, we understand that things will always be changing. So before this, I actually worked for demons company doing Facebook ads, and I remember an ad would be going great. And then it just wouldn’t and it would just change. And what change would be a policy change? That’s just the nature of the business. The challenge is you don’t own your audience when your pet spend money on Facebook ads. So you could run an ad campaign. It’s a million dollars and there’s no guarantee on conversions. There’s no guarantee you’ll even see it. And to me will change and the money’s gone. And then once it’s over, it’s over. There’s no, no one’s going to say, I remember this ad that’s on Facebook six years ago, I’m going to go buy this product.

The benefit now is more brands. We push towards creators to understand the impact we have beyond an algorithm it’s personal. And a really good example of that is there was an energy drink called Celsius that we love and organically be buying it for years, but buying it for years for a lot of reasons, and people were like, they should sponsor you. I’m like, yeah, they sponsor us. But we were drinking the videos anyways. Eventually we partnered with them and now they sponsor us. And then we’re main sponsors. And I can’t tell you how many times people will DM me a picture of them drinking a Celsius or we’re at a fan meet and they’d bring us this product.

It is. And saying like we did actually really ironic. We had a sponsored video last week. Our first big one on YouTube itself says before that it was tech talk. And we’re like, okay, it was filmed this promo. And as I’m talking from the promos or walks up with a case of Celsius to surprise us a random person, and that became the promo and that other thing. So that attachment goes along beyond any algorithm or any ad sad or lookalike audience because it’s personal and people, when they walk into a store will see a Celsius and they won’t think of what they’re seeing the brand I’ll think of, oh, that’s a DD drinks.

And they’re so loyal to that. That’s a huge opportunity that in a lot of ways is still completely undervalued for brands. Again, when you put an ad on, on Facebook, there really is no guarantee that’s going to even go anywhere with us. We can show you when you click the link and show you who watched the hell on the washed it, we talked about it. You can go read the comments and we’ll do that. So at the end of the campaign, we’ll have somebody to go through and put together basically a little, a little package to show the advertiser going, oh, this is the data, things like that, but also the comments and engagement in the love. And when people were saying about the brand, which is really cool. So, you know, bringing it back to the changes, there’s always going to be changes.

But what won’t change is somebody as attachment to a creator personally, and even happens to us sometimes where a YouTube will, you know, someone will click on notifications, but they won’t get one. Something will change. We can’t control that. And I love what Gary V always says is like, don’t complain about why things are the way they are adapt. I can’t change how YouTube or anything does it, but I made people love the brand and love our videos. And you know, it’s really simple. If you make a video that people generally enjoy watching and they click on it and watch a lot of it, it’s going to get views. So it’s our responsibility to always come up with ideas, even when things are going really good and we’re having a great run, okay, what’s next?

Because we know that it’s not forever. And we have a real responsibility to make really good content and really push ourselves to constantly bring those views in. Because if you engaged and along that journey brands had that attachment again, like Celsius. And there’s tons more where I’ll be autographing and things. Someone brings like a cell phone case. We promote the past five years, but they bought that product because they trust us. They love the product. They tell all their friends, then they go buy an extra that product they bring to me so I can autograph it. Like that’s a whole new in advertising that I still feel is undervalued in a lot of ways.

I still untapped. And I, I see it now. Like, so now that we’re say seven years in, of being monetized along all runs merchandise, brand deals, all those things. I’m seeing more bigger brands come into the space. Now that be kind of going well, this is crazy. And I think that over the next few years with changes in Facebook, algorithm and cookies being deleted, more brands will look to this going, okay, well, let’s just try this creator program and learn more about it. And again, it’s very different because you are giving up a certain level of control. Most advertising campaigns have 15 approval processes where a lot of craters the advertisers to do the best of the ones that are like, I watch you through audience.

I trust you sell product in a tone, that’s going to speak to your audience. And obviously there’s things you can’t say that you can say, and there’s obviously rules with us. We get all that and respect it. But let me really sell your product in a verbiage that my audience is going to go. Hmm. That’s what we did with LCS. And it’s been crushing.

(15m 46s): Yeah. That’s honestly almost word for word what I appreciate our clients because we feel that, you know, the creators are the best salespeople, ultimately, because they understand their audience and you guys clearly know what works best.

(15m 58s): I was sitting down with a CEO of a major car manufacturer, like a big one. Like I won’t say who they are. And he was like, we’re not appealing to younger people. And when he says younger, he means sub 40. I’m not talking about teenagers, twenties, thirties, forties, prime, income prime spending. They have a credit rating, the market pretty much every wants to go after and we’re not appealing to them. We don’t know why. And we were like, well, here’s the challenge. People are numb to Polish. People want raw. And that’s what tech talks blowing up, not edited. And a lot of our content now is that Rhonda does better.

People want real authentic. When you have 12 people approving an ad that will say we created an ad for a brand there’s 12 lines are on the way. And then somebody is like, Hmm, this isn’t what doesn’t work and takes away the authenticity of it. And all of a sudden make it strapped, not work. You need to have a little bit of rock and roll. It needs to be fun and find that balance as far, as far as the image of the brand, but also appealing to it being as a fun brand. You know, the world’s been through a lot in the past five, 10 years of people are looking to more and more now to experience entertainment and excitement and a car should be exciting, especially an exotic car should be sexy.

It should be broken. Role is there’s a term we use in that conversation. And you can see the light bulb go off and he’s like, yeah. Sometimes process gets in the way of the results. And I’ve worked for big companies. I understand the why behind that, because you have 15 departments and then sometimes there’s there’s politics and bureaucracy inside of that, where for us as YouTube is like, when we start our own products we sell. So I saw still hat like this, we’ll sell 4,000 hats in a weekend. Why? Because people bought into it. I can make it fun. I can make it exciting. I don’t talk about what the hat is. I don’t say it’s made out of wool and fiber.

Talk about the why behind the brand, the excitement and people will wear it. It feels like a part of the brand. And that’s really exciting. And that’s really, really when the new really hit the nail on the head, if someone’s like, it’s the, why not the, what I’m buying this car because it’s exciting. Cause I watched the DD video and inspired a passion. I haven’t felt since I was a teenager and I want to walk in a dish and I want to experience that not this car has eight cylinders and has 500 horsepower. That’s not why people buy cars or even products. You want to feel connected. You want to feel excited. And for me personally, when I get something that I’ve really wanted for a long time, any product or service and get that excitement, that’s the best feeling more so than anything else.

You’re, unpackaging it, the packaging, the experience. And that’s what we get to showcase in our videos. When we do a promo, you can say like, here it is and you’re excited and they feel it with you. It’s really exciting.

(18m 14s): Yeah. I love that. You’re speaking my language as a copywriter. I’m always trying to get clients to think about like, what’s the emotional connection, not just the feature, but what, what’s the, what’s the bigger, why? So I love all of that. So as we’re talking about data a little bit, I’m just kind of curious as a creator, you know, you’re on YouTube. I know that YouTube provides insights. What sort of insights are you digging into either to understand your audience as you’re creating content or just to make decisions, does it inform the content you create or how do you end up using the kind of first party data you have access to?

(18m 46s): So the initial YouTube ad this feature a few years ago, or ranks your videos out of 10, the past 10 uploads. So obviously if you wake up in the morning, so it’s 10 to 10, it means that’s not going to your audience. So YouTube is Instagram videos first to your diehard, call it super fans. There’s fans out there that watch every video. There’s the diehards, the ones that will bile them, or that would be at every fan meet that will watch any video. Even if the video title thumbnail might be something that really appeals they’d love the brand so much. And for us, we have probably 400,000 people that we know will watch every video. Now it doesn’t mean that they’ll go away if you push it and start getting lazy.

But that’s a really good indicator where if I put a video out and it shows the first X amount people, if they like it and have a high click through rate, and if they like watching the video, they’re gonna have high retention. So that’s number one is click through it and retention. If you have a high higher, the average click through rate high retention, it’s going to show more sort of more people, maybe subscribers that don’t always watch your videos or other people. And that’s the one thing about subscribers, which is kind of a lie in the fact that half the people watch our videos, aren’t subscribed. This gets adjusted the video, keep on watching it. But that’s kinda the, the, the analytics around the ranking of click through rate and then the ranking of the past 10 videos.

So in the first hour of an upload, we know how the video is going to perform. So we understand, okay, so we can track it. Why did it perform right for us as title and thumbnail? Is it appealed to a person? Does it get to the point right away? Is it the right color? And Damon’s background and Facebook marketing email really helped in the beginning because he understands certain use of colors, certain use of, you know, what’s the, the, the image about what happens in the first 15 seconds of the video. Facebook’s more specific on that. Like YouTube is a bit more forgiving in the first 15 seconds. Whereas Facebook is the first three seconds. You have three seconds to hold their attention.

They’re gone. And it shows you right away who watched for three seconds, who watched for 15, who watched for a minute. And your goal is to give someone from three seconds to 15 than to a minute. And if you can get those three items, you’re going to have a video that blows up. So you really just need to pay attention. And as far as I do, we do we make content that purposely appeals? Yes, we make videos purposely because we want audience to watch it. So there’s certain vehicles that I love that doesn’t get views, right? For whatever reason, like luxury cars, like a rolls Royce or a Bentley, which I love because they’re so comfortable, it appeal in the same way a Lamborghini would.

And we’ve tested that with data. We’ll also like the other day, I sat down with her the last 12 months and any video over, I think, 730,000 views. I tracked it on a tracker, what was titled thumbnail. So we know those top four categories that historically will always produce the best results. And there’s also the bottom four that historically have produced the lowest results. And when we have a sponsored video, we have a responsibility that an advertiser to go, well, we need to perform. So we’ll map out for month one, okay. What’s our sponsors for the month. And the biggest videos that we have. And that’s where if a, if an advertiser has flexibility and publishing date, that’s really beneficial.

Sometimes doesn’t always work out. So they say, Hey, we’re launching a product. This date, the video has to go up that date. And we’ll reverse engineer that makes sure have a good video, but I have sponsors are like, I don’t care what video or what day goes up. I trust you, give me the best result. And those are the ones who’ve have been with us for five years, because I’ll be like, Hey, I know it’s due tomorrow, but I have a really good video next week that I really want to put your product in. Cause I feel like this will be the one that really benefits you the most. And the CEO’s like, oh, I trust you yet. You got me back. And because we don’t want one time deals, I don’t want one sponsor to pay me a bunch of money one time and go away. It doesn’t help anybody doesn’t help the audience because it takes time to build that trust.

They say, I think it’s seven points of contact until somebody really engages in your brand. And for what we do now, you know, historically on YouTube, it’s been a conversion campaign. I pay you to sell this, put it in this one video. But the real value as it’s expanding now is the, is the intangible branding because there’s products now where in the beginning, they might’ve just been on YouTube and other stores. Now they’re in Walmart and they’re in big box stores where someone walks by and they see that and they go, where did I see that? Where did I see that men’s room product? Oh, and they might not know at the time, but they’ve seen the in twenty-five DD videos.

And they may have taken action in the moment, but understand that product. And that’s the extreme value. And that’s where I would argue and say that we’re undervalued in the fact that just the branding. And if I think about like, you know, what the views of TV show gets, the views, the Netflix series get versus the cost of production advertising versus YouTube. If an advertiser is watching this, it is so cheap and so effective on YouTube right now. It’s pennies on the dollar. Now that will change because you know, more and more people now are counseling or cables, services. More people were canceling their Netflix services like people are now are so used to getting so much content where they will go on.

They’ll binge fan. I do the same thing. I love breaking bad back in the day and I’d binge watch it. And that’s it for a year, a better call Saul. That’s it for a year with creators. It’s for us every second day, we upload a video. So it’s made people greedy and they expect for content because you used to get in it. At one point we uploaded every day for two years, almost killed us. Every date, 20 minutes actually uploaded video. If it could beginning, middle and end with a soundtrack with montage was every day. And I met with a guy that works for a studio, my production studio for movies.

And he’s basically, he’s in charge of analytics. I’m watching. And he was sitting in a movie theater, and this is crazy. This everything is watched. People know they’ve watched it to put a movie up and they’d watched people. And they’re seeing that people now in a movie that costs 200 million are on their phones because they’ve lost the retention because they’re bored because they’re used to creators making video content so quickly and so much going on. So condense that now for two hours, they’re like, Ugh, you know, I’m going to go and watch and go on Instagram or Tik TOK. So advertisers are not going okay. Well, what’s the most effective route. How do I hold their attention?

As it were spending millions of dollars to put my laptop computer in a movie, right? And the no point is Tom cruise from the camera saying, oh, by the way, guys, Tom is sponsored by Sony. We do that. We say, I love this product. Here’s why click the link below and go check it out. You have a direct call to action, to an audience of a million people or 500,000 people. Whatever the view count is saying, go do something. And that’s where again, the big brands coming in and going like, wow. And then you have analytics attract who clicked the link.

The movie theater is not going to tell the studio. Yeah. Here’s who bought ticket today. Here’s you washed it? Oh, and Johnny left. After five minutes, Sally was here the whole time we were with YouTube and Facebook. And even Instagram, you have that data, data access to go. Who’s watching. It’s pretty crazy. We think about the level of access. Now an advertiser has versus 10 years ago with a billboard, like who knew.

(24m 54s): Yeah. And you’ve covered so much there. I especially love though that angle about the way attention has shifted and thinking about how advertisers can and should be more flexible with the, you know, kind of relationship. The idea of giving you guys a little bit of rain on when the ads are going to drop and, and that giving you some freedom to really optimize. I think that’s all really useful. I’m curious, Dave, it’s been a great conversation. Is there anything else that you’d want to say before? I let you go? Anything for brands that are thinking about coming into the creator space and, and things for them to be thinking about as they approach those partnerships?

(25m 28s): I think sometimes it’s easy to caught in your ways of doing things. It’s always worked. But as you’ve learned with Facebook, with cookies, deletion, all those things, it’s constantly changing. And the ones that benefit the most are the ones that action now, because you get on with a trader that’s loyal, like dieldrin exotics, where you get into day one and will do so much beyond what’s guaranteed. We always like to under promise and over deliver where you build this relationship. And a lot of our advertisers, like we have dinner with the CEO, we’re friends and we have this bond and we’ve watched them grow and grow and grow. And it keeps on evolving the ones that are suffered, the ones that are so caught up in what works 10 years ago, five years old last year, I would just say, it’s time to pay attention and try it work with creators that you feel are trustworthy.

And it’s not hard because everything’s public. If you’re not sure how a crater does an ad pitch, and you’re not sure how they’ll do it, go watch their videos because they’ve done it. They’ve been doing it for years. It’s all out there. It’s not an ad. Don’t get deleted. So when you make a video deal with us and Myrna YouTube video, it lives forever. It’s always out there and it’s always getting conversions, unlike Facebook or net or ad where you’re paying for the run. As soon as your ad campaign runs out of spend, it’s gone with us. I’ll look back at times and a video that was sponsored five years ago that did, okay. Say 400,000 views of time now has 5 million views.

So the past five years it’s still getting washed. I call it advertiser. I’m like, well, yeah, we’re still making money off it. This is great. Thank you. So just, I guess my message to sum it up. It’d be like, it’s time to change. It’s time to adapt what you’re doing, but it’s also really exciting because it’s embryonic still. It’s still at the very beginning, but there’s a huge shift coming. And those act now probably reap the best rewards.

(26m 60s): Well, that’s a great point to end on Dave culture of data-driven exotics. Thanks so much for being on the show. It was great talking with you.

(27m 7s): My pleasure. Thanks for having me.

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(27m 38s): On the Mic is hosted by Lindsay Smith and Nate Spell, edited by Jeffrey Stallings, and produced by Ad Results Media. For more information about Ad Results Media go to adresultsmedia.com.

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