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GetResponse Academy: Part 5
Use your email results to make
every campaign better
Email marketing is one the best methods to advertise online. Every dollar you invest into an email campaign can generate forty dollar return according to a DMA study (2011).
With GetResponse, you can track every open, click or a sale that resulted from your newsletters. It's a great way to know your customers better and optimize your next campaigns. In Part 5 of GetResponse Academy we'll talk aboutinterpreting and comparing email metrics.
Comparing your email results with Email Intelligence
GetResponse allows you to easily compare effectiveness of two emails. You can see which newsletter generated more opens, clicks or even sales. You can run the comparison by using the Email Intelligence feature.
OPEN RATE. It's the number of emails that were opened vs. the volume of emails that were delivered. The average open ratio is about 15-16%, but you can always add extra 5-6% to your results (opens are registered only when subscriber clicks on the "Display images" link).
CLICK-THRU RATE. It's the number of clicks on the links vs. the amount of emails that were delivered. Contrary to open ratio, this metric is 100% accurate. The average CTR is around 4%.
CONVERSION RATE. It is the final action you want the subscribers to take: clicks on the "Buy now!" button, number of times your ebook was downloaded, etc. It varies for every sender, depending on the aim of their emails.
SPAM COMPLAINTS. It's the number of people that click on the "This is spam" button vs. the amount of emails you sent. It shouldn't exceed 0.1 - 0.2%. If higher, your newsletters might stop hitting the inbox and get blocked by providers such as Yahoo! or Gmail.
BOUNCES. It's the number of undelivered emails vs. the amount of emails you sent. Keep an eye on the bounces generated by addresses that do not exist. The ratio for such bounces shouldn't exceed 5%.
UNSUBSCRIBES. It's the number of people that click on the resignation link vs. the amount of emails you sent. The industry average is 2% opt out ratio per a newsletter. List churn is a natural thing and although it's not a positive experience, it's better to let people resign this way than make them mark your emails as spam.
Providing a definitive guide to modern Argentine tango styles is a most difficult and controversial thing indeed:
Very significant contradiction existed between various authorities (ie tango historians and teachers) on the attributes of the different tango styles.
Many of the styles no longer exist or have dubious accuracy in their description because of reliance on small source sample size or word-of-mouth.
The number of potentially different styles was enormous: this author counted no less than 36 different styles whilst researching this topic.
In order to bring the reader a list of tango styles that was usable, accurate and meaningful, hard choices had to be made:
Tango styles selected had to have a reasonable level of agreement as to their meaning and essential characteristics by a large number of sources.
Styles that are no longer in use, or are defined to be in use by a very small set of users, were excluded.
Styles should be clearly observable in their own right by someone not versed in their subtle nuances. A good metric for that would be the ability to discern the style in a video. For example saying that tango styles A and B were different because style A was 'more flowing' than B was not deemed a useful differentiator.
Styles that were essentially the same were merged. It should be noted that this author has provided the alternative names where they exist. For example Show Tango and Tango Fantasia.
Only direct derivatives of Argentine Tango were selected. For example Ballroom Tango and Queer Tango are valid and recognizable tango styles, but are considered branched away from the evolutionary mainline 'trunk' of Argentine Tango.
Posted by argentinatangoshoes.com on January 21, 2013 at 7:20 PM under
• 0 comments
- Evolution of Tango - Strengthed by the new century
In 1910 Tango was danced in Paris, expanding rapidly in popularity worldwide.
It's glamor conquered the highest sectors of society and was danced in almost all European capitals.
Managers who presented Tango in the halls of the old world were the young male children of traditional families of Buenos Aires, which had long frequented places of Buenos Aires where Tango was danced, to the chagrin of the Buenos Aires society, which still was frowned on for its scandalous background.
It's final acceptance took a while longer until it was seen as a necessity of popular expression.
The evolution of the choreography kept Tango alive and with strenght: in case it would have been under a single form, Tango would have disappeared or "would be a simple matter of scenic memories, like other forms of popular dance" (Dinzel, 1994).
Jorge Luis Borges, the famous Argentine writer, devoted many pages to the stories of "malevos"
or "guapos" (outlaws), fueled by his own experiences and the myths that these characters represented.
Hollywood Tango became popular in North America, through the figure of Rudolph Valentino, who danced in a gaucho dress.
Tango de Salon (sometimes called simply Salon) is an inclusive term for the dancing found at what used to be called 'Salons' (ballrooms) - in other words, milonga halls.
It is characterized more by its wide variation than by a specific position; it is the style owned, practiced and shaped by the collective masses on the floor.
Tango de Salon has the following attributes:
Highly improvised, with the only limitation being the experience and repertoire of the lead and follower.
The line of dance is strictly respected, particularly at the outer-most lane called the ronda.
Full Variation in embellishments, from the subtle to the extravagant: constrained by the density of the crowd.
The embrace may be open or close, though often closed, particularly in a crowded dance floor. When it is open, a different repertoire is available, which is especially true for the follower, but the connection between dancers becomes limited. The embrace will also be relaxed at times during the dance to allow maneuverability to the follower.
Chest connection can be varied, but often in a V-shape.
Full variation in arm placement: the follower may place her hand behind the man's neck, on his shoulder or even down his arm. The lead may place his hand anywhere on the follower's back, from the waist through high up the follower's back.
Full variation in the position of the enclosed hands: from low down right through to up high.
Faces may align in any direction, but often right cheeks will touch.
Full variations in posture: from apilado to upright. Usually however, both lead and follower will be upright with a slight lean forward.
Axes may be separated or shared; often they are separate.
The Government of the City of Buenos Aires rescued this date to honor this cultural expression given that on December 11, had two of its best expressions: Carlos Gardel (12/11/1890) and Julio de Caro (12/11/1899).
Before a presentation by the Friends of the ave. Corrientes, Argentina Society of Writers, Argentina Society of Authors and Composers, the Casa del Teatro Argentino and the Musicians' Union, among others, the Municipal Executive signed Decree No. 5830. There he argued that "... the main objective of the initiative ... is to stress the importance and meaning of popular music that manifest originality and preferences of vast sectors of the population of Buenos Aires which are in the tango endearing testimony . "
The momentum and the original idea of celebrating the day of Tango at this date is attributed to Ben Molar poet who said: "On December 11, 1965 I was in the corner of the tango, Corrientes and Esmeralda, waiting for a bus to go to my friend's Julio de Caro house who was celebrating his birthday and I thought: that's funny! Today would also be the birthday of Carlos Gardel. Just coincided in the same birth day two of the main aspects of the tango, the voice and the music. "
In 1977 also, the Ministry of Culture of the Nation adopted the same approach and declared December 11th The National Day of Tango.
The Tango is brewing on both sides of the River Plate between 1850 and 1890. In the early nineteenth century with its acceptance worldwide popular dance evolved into its current form.
This dance that originated in the port of Buenos Aires and quickly spread to the southern suburbs, as San Telmo, Monserrat and Pompeii, had its parallel with the growth of Argentina society, formed by European immigrants, who brought many of his elements.
Around 1860, between the natives and gauchos rioplatenses, sailors, Indians, blacks and mulattos, loose danced music like waltzes, Austrian Alpine home, quickstep and tango Andalusian zarzuela, Scottish dances, Havana, Cuban-born , polka, mazurka, quadrille and milonga, on the basis of the fandango and candombe of blacks. At that time there was not yet the Tango as dance itself.
The sound of the bandoneon (of German origin) was incorporated as essential to pianos, guitars Creole, basses and violins.
In neighborhoods emerged "Tango arrabalero" that was danced in the suburbs, men and women with bodies embraced tightly, and that shocked the society of the time.
Condemned by the church and banned by the police for inciting the scandal, was associated with lust and fun "unholy" together with drinking and dancing.
It's ban forced to dance in hidden places, so its nostalgic atmosphere of passion.
At that time, only the humbles at the suburbs danced it. The Tango originated in brothels, settlements and nightclubs. The brothels encouraged it in order to approximate the male and female bodies.
It was conceived as "vulgar" by the most conservative strata, socially marginalized for seeking sensuality and pleasure.
The unusual fusion of languages, customs and knowledge generates the phenomenon of tango and parallel language, the slang.
The "lunfardo" is to Castilian what the cockney or slang is for British English and American English.
In 2009, the tango was presented by the presidents of Argentina and Uruguay to be included, and finally approved on the List of Intangible Cultural Heritage (ICH) Site by Unesco.