Hard Rock Café - Thương hiệu của âm nhạc và kỷ vật về Rock ‘n’ Roll
Hard Rock Café - Thương hiệu của âm nhạc và kỷ vật về Rock ‘n’ Roll
THỨ SÁU, 31 THÁNG 7 2009 09:33
(repost in Vietnamese)
Khi quán Hard Rock Café đầu tiên được khai trương vào tháng Sáu năm 1971, thương hiệu này đã đem lại cho người tiêu dùng một kinh nghiệm ăn trưa hoàn toàn mới mẻ.
Nét mới mẻ này không đặt căn ban trên thức ăn hay dịch vụ mà với một chủ đề - rock ‘n’ roll. Chủ đề này đã đem lại cho thương hiệu này một tính cách thống nhất, một tính cách được chứng tỏ trong mọi phương diện của nhà hàng, từ nhạc và thực đơn mang tính cách Mỹ điển hình cho đến bộ sưu tập những kỷ vật về rock ‘n’ roll được trang trí khắp nơi trong quán. Môi một quán Hard Rock Café còn hoạt động như một viện bảo tàng “sống” về lịch sứ rock ‘n’ roll với hơn 60.000 hiện vật được trưng bày, như đàn ghi-ta, áp phích, đĩa vàng, tập bài hát…thuộc sở hữu của công ty này. Những kỷ vật trị giá hơn 30 triệu đô la này được lưu chuyển từ quán này sang quán khác và mọi quán đều luôn có những hiện vật mới để trưng bày.
Mô hình này đã phát triển nhanh và hiện nay có hơn 1 00 quán Hard Rock Café ở các thành phố lớn, từ New York cho đến Kuala Lumpur, trên 40 quốc gia. Những chuỗi quán mô phỏng theo hình thức “ăn uống-giải trí” này của Hard Rock Café, ví như Planet Hollywood hay Fashion Café, đều kém thành công hơn. Không một công ty nào khác có thể tìm ra được một chủ đề phố biến và thành công như chủ đề rock ‘n’ roll. Suy cho cùng thì thế loại rock ‘n’ roll chỉ phù hợp với những phòng ăn tại gia (điển hình là những quán ăn của thập niên 1950, nơi mọi người đến thưởng thức không chỉ món ăn mà cả giọng hát tuyệt vời của những ca sĩ lừng danh như Chuck Berry hay Elvis Presley), trong khi những ngôi sao sàn diễn thời trang và minh tinh màn bạc với ý thức vẻ đẹp hình thể không phải là những nhà quản lý nhà hàng nổi bật nhất.
Trang web: www.hardrock.com
Thành lập: Năm 1971
Xuất xứ: Mỹ
Thông tin thương hiệu:
- Có hơn 100 quán Harcl Rock Café ở 40 quốc gia trên khắp thế giới.
- Thương hiệu này sở hữu hơn 60.000 kỷ vật về rock ‘n’ roll, với những thứ nổi tiếng như cây đàn guitar của Jimi Hendrix và cặp kính của John Lennon.
Những Bí quyết Thành công:
Ý tưởng nguyên thủy: “Không có gì có thể giống như cái khởi đầu”, Giám đốc marketing của Hard Rock, ông Steve Glum, phát biểu với tạp chí Detroit Free Press vào tháng Mười Một năm 2003, “Họ có thể bắt chước chúng tôi, lấy nguyên mẫu và thay vào đó nội dụng khác. Nhưng chúng tôi có một thứ mà mọi người đều có thể dễ dàng liên hệ đến là âm nhạc và các kỷ vật về rock ‘n’ roll mà những chuỗi nhà hàng khác không có được”
Sức hấp dẫn du khách. Bằng cách là những bảo tàng “sống” và tọa lạc ở nhứng địa điểm du lịch, Hard Rock Café nhanh chóng trở thành môt thương hiệu danh tiếng, thu hút nhiều du khách. Những chiếc áo thun Hard Rock Cafe nối tiếng in tên thành phố nơi chúng được mua cũng là một hấp lực khác nữa đối với du khách.
RT@AdAge.com re: #Freaky #Campaign
The Freakiest Campaign Ever (Hint: There’s a 2-Headed Calf)
Ripley’s Uses Skull Bowls, Other Odd Images to Push Its Weirdness to the World
http://adage.com/article?article_id=120434
Believe it. Ripley Entertainment, owner of Ripley’s Believe It or Not, has been around for almost 90 years, and to celebrate it’s kicking off an advertising campaign, appropriately named “Freaking Out,” in the U.S., Denmark and Canada.
Weird is universal: Ads are running in five languages so far.
The campaign made its debut in New York City and is the company’s first integrated, multiplatform endeavor. The push includes online ads, webisodes, billboards and T-shirts and is handled by MacLaren McCann, Toronto.
The real deal
“Freaking Out” aims to create a consistent face for the company, which is viewed worldwide though its museums (called Odditoriums), daily comics, website and syndicated TV show. Now that Ripley’s is expanding, it wants to “ensure viewers all over the world that they are receiving the true Ripley’s and not some imitator,” according to Steve Glum, VP-marketing.
Most of the ads are uncomplicated, consisting of an image from the Ripley archives, such as a two-headed calf or a skull bowl, with a variation of the tagline and the company’s logo. The versions include: “Proudly Freaking Out Families for 90 Years,” “Actually, It’s Rude Not to Stare,” “Come See What Noah Left Behind” and “All the Things Mother Nature Swept Under the Rug.”
The spirit is in keeping with the brand. “Ripley’s is weird,” Mr. Glum said.” But we’re proud of it.”
The freakish ads are running in English, Spanish, French, Dutch, and Croatian and will expand into other languages as the company opens two Odditoriums, in China and India, in the coming years.
‘We’re all voyeurs’
“Freaking Out” is not merely a celebration of the oddities Ripley’s has provided during the past nine decades, but also a way to protect the brand in the future as Mr. Glum believes more imitators are entering the market. “My goal here was to really prepare Ripley’s for the future, make sure that we have a brand that is still viable when we are 100 and beyond.”
WWE John Cena bodycast
Very cool brand opportunity squandered…video courtesy of Todd Day.
http://www.facebook.com/video/video.php?v=1208570967896&ref=mf
PassmoreLab Signs $200 Million 3D Conversion Deal
7-Year Association Will Convert Hundreds of Shows as Pact Will Create Largest 3D Library in the Entertainment Industry
San Diego, CA — San Diego-based multi-media 3D production studio PassmoreLab announced today that it has signed an agreement with legendary production company Grizzly Adams® Productions has to convert 500 of its feature films, television series, and documentaries to 3D.
According to Charles E. Sellier, CEO of Grizzly Adams Productions, when completed, the estimated seven-year, $200 million project “will create the largest 3D library in the entertainment industry.”
In addition to converting its existing 2D library to 3D, PassmoreLab will convert Grizzly Adams’ new productions to be completed — 18 new feature films and 78 television series episodes — over the seven-year term of the agreement.
Named after its long-running NBC Network TV series The Life and Times of Grizzly Adams, Grizzly Adams Productions has been a leading producer of family friendly and faith-based independent movies, documentaries, television specials and series for the past three decades.
David Balsiger, vice-president at Grizzly Adams, notes, “To the best of our knowledge, we’re the first production company to initiate converting a major film library to 3D.”
PassmoreLab is a state of the art multi-media 3D production studio specializing in the conversion of 2D motion pictures into 3D entertainment experiences. The company’s proprietary technology for 2D to 3D video and film conversion is unmatched in the industry, in both turnaround times and conversion costs. Their existing library of 3D content is already considered to be the largest in the world, with hundreds of television shows, films, documentaries, videos and animation titles.
“At the end of the seven-year agreement with PassmoreLab, we project that we will have the largest 3D library available for retail, the most 3D TV programs available for licensing, and, we will have captured major shares of both the family and faith 3D markets,” explains Balsiger. Approximately 20 percent of the Grizzly Adams library is described as faith-based.
According to Greg Passmore, president of PassmoreLab, his company has arranged funding for the $200 million conversion project and has ramped up capacity to convert up to 100 Grizzly Adams titles per year.
Passmore observes, “Grizzly Adams has completely embraced 3D technology. There are other studios with large libraries, but they face many hurdles to convert even a few titles to 3D. For example, since the industry considers any resulting 3D title as a derivative product, there are contractual restrictions regarding director approvals, talent and music residuals, plus complex financing issues. All of this adds up to a disincentive to convert back list titles into 3D.”
“We own all of our films and television series outright,” explains Balsiger. “Our library is ideal for converting shows and filling the retail pipeline quickly while demand is high and supply is extremely low.”
Passmore adds, “Internationally, there’s every indication that 3D will be the standard from this point forward in movie theaters, on broadcast television, and across all video delivery systems. Our strategy is to be completely ready to take full advantage of that by having a large 3D-ready library available for licensing.”
If there ever was any doubt that 3D is the future of the home video market, those arguments were laid to rest recently when electronics giant, Panasonic, reported that its stock of 3D HDTVs selling at about $3,300 each had completely sold out within days of the products hitting retail outlets.
According to U.K.-based research firm Futuresource Consulting, the portion of U.S. households that will have a 3D television set in four years will rise to 45 percent from four percent this year.
Although box office blockbuster, Avatar, was shot in 3D, converting a 2D film to a 3D film appeals to leading filmmakers. For example, Tim Burton shot the recently released Disney remake of Alice in Wonderland with traditional 2D digital cameras and then converted the footage to 3D.
The masters are already available for the 3D Blu-Ray and VOD versions of The Fabric of Time, Grizzly Adams’ award winning television special about the Shroud of Turin, long believed to be the burial cloth of Christ. This is Grizzly Adams’ first 3D evergreen entry into the faith market which will crossover onto secular retail shelves for Easter sales.
Within the next six weeks, the highly acclaimed feature film, Friends for Life, will be released in 3D. This family friendly movie, complete with wolves and a bad grizzly bear, has received 30 awards for production excellence.
The first new 3D television series for the joint Grizzly Adams-PassmoreLab production pact will be a fifty-two episode series about George Washington, culminating with a feature length theatrical picture.
Among the new 3D feature film projects slated for production over the term of the alliance are two Grizzly Adams family-oriented feature films currently in pre-production: The Super Heroic Life of Edward Hinkleberry; and the newest franchise installment to the Grizzly Adams legend, Grizzly Adams Begins.
Grizzly Adams will oversee all worldwide television broadcast/DVD licensing for the 3D productions. PassmoreLab will take the lead role in theatrical distribution.
Contact Steve Glum at 1-858-200-5813, or email at steve@passmorelab.com.
“PassmoreLab Wraps Production in Indian Ocean on Latest 3D Film ‘The Extreme Nature of Bats”
3D Studio Goes to Great Lengths to Complete New Museum Science Film
San Diego, CA (Mar 3, 2010) – San Diego-based 3D Production Studio PassmoreLab has returned from the islands of the Indian Ocean, officially completing photography on their latest 3D science film, “The Extreme Nature of Bats”.
The film, which explores the truths, myths and dark legends that have stalked the world’s only flying mammal, closely examines three bat species; the free-tailed bat, the megabat, and the infamous vampire bat.
PassmoreLab’s production team traveled the world to film these bats in their natural habitats in order to tell their remarkable story.
Production began last year in October in a Texas bat cave, where the team filmed a resident population of 12 million Mexican free-tailed bats. From there, the crew traveled to Romania to tackle the myths surrounding bats and Bran Castle (better known as Dracula’s Castle), then backpacked through the jungles of Mexico to film the elusive vampire bat. Finally, after arriving in Africa, the team boarded a boat to a primitive island in the Indian Ocean to film the megabat.
“I took the crew over 42,000 miles to get these bats,” says Passmore. “We were on location in some amazingly remote places. For instance, the Indian Ocean island was wild, with giant spiders, huge bats, and very difficult terrain. It looked like we had landed in a Jules Verne novel.”
Bats fulfill multiple roles in different parts of the world. For instance, in North America they keep ecosystems in check, yet are symbols of fright; in the Indian Ocean they are a part of the food supply; and in Mexico bats treat animals and humans as a part of their food supply.
Through interpreters and local guides, Passmore began to hear about the legends of his subject matter. “The locals in one remote village in Mexico told us that they can hear the vampire bats making a screaming noise during the nightly cattle hunts.”
To try to capture that on film, the crew had to ditch the jeeps and go in by foot, backpacking for hours to an area where they could film these swarms of vampire bats in the moonlight drinking blood from cattle.
“It was very still, very quiet, and then all at once…yes, there were screaming noises,” says Passmore. “It was eerie.”
“The Extreme Nature of Bats” is a new, educational 3D science film that chronicles the lives of these unique and interesting animals. Passmore’s objective was to find bat populations in locations where few crews have ever gone before, giving viewers a highly memorable, realistic journey and exposing them to a world they have never seen before.
“I wanted to go deep inside active bat caves and film from the inside out,” says Passmore. “I needed to understand the risks and rewards associated with large bat populations before I could put it onscreen.”
One sequence shows the megabats in the trees and sky, surrounded by the most incredible natural beauty on the edge of an ancient burial ground. And in the middle of all that activity, the local people are catching them in giant nets.
“Apparently, they go well with rice,” continues Passmore. “That just reinforced to me the need to better understand these creatures across cultural contexts,” continues Passmore. “A disease plaguing bats, White Nose Syndrome, is killing off entire bat colonies, and we are unsure why. Hopefully the film can help underscore the importance of these creatures and why we need to protect them.”
The film now goes into post-production to be ready for rollout to museums and theatres. “We traveled far and wide to tell this story,” says Steve Glum, PassmoreLab’s head of Branding & Distribution. “It’s been an incredible expedition and we think audiences worldwide will be thrilled to experience this journey with us.”
PassmoreLab’s “The Extreme Nature of Bats” (www.youtube.com/watch?v=RQ23ZMBcVMg) is scheduled for release to Science Centers and Museums in March, and will be translated into German and Spanish.
About PassmoreLab
PassmoreLab, the “World’s Largest 3D Content Provider”, is a San Diego-based multi-media production studio that specializes in 3D production. The studio custom-designs and builds its own RED camera 3D rigs for both conventional and rugged film productions, shooting everything from feature films, television and science documentaries, to underwater diving, extreme sports and cave exploration http://www.passmorelab.com/PL2minTRAILER.mov. State-of-the-art facilities include a full 3D production studio, video/film post-production, optical development lab, and a software development environment. Production includes 2D, 3D, high dynamic range time lapse, stereoscopic microscopy and cutting-edge simulation technologies for real time SFX. PassmoreLab has additional offices in Russia and the Philippines. For more information, visit www.passmorelab.com.
Marketsaw.com: MICROWORLDS, The World Beneath Our Feet in S3D
http://marketsaw.blogspot.com/2010/01/microworlds-unseen-world-beneath-our.html
A Shaking Wet Wolf?
Yes. This was a complete brand challenge like I had never faced before. We bought the franchise rights to the American Great Wolf Lodge brand and I had to launch it in Ontario, Canada. For those that have done this kind of deal before, in most cases when you become a franchisee you also have the rights (and are sometimes required), to utilize corporate training procedures, operations manuals, and in this case, branding & marketing guidelines.
But there was a big problem. The brand guidelines were written for an American audience and were full of midwestern, conservative marketing positioning. Having to launch an unknown brand in a new country, I had to take an uninspired and confusing brand mark, coupled with confusing brand tone & execution & uninteresting marketing, and somehow communicate to a new, jaded, international and cultured Greater Toronto audience that this brand they were about to start hearing about was a top-notch, fantastic, fun, family, indoor waterpark resort.
Not an easy task.
But, through solid determination, strategic thinking, and brand risk-taking, I got us there.
See, I had to somehow connect the dot that this new brand, which looked in ink like a typical log cabin hotel, was in fact a mega-fun indoor waterpark resort. AND I had to deal with a name like Great Wolf Lodge — does that sound like a fun water park to you? It didn’t to me either, so I set about trying to connect the DRY WOLF DOT to the WET FUN DOT, and in the midst of it, came up with a iconic brand stamp that was a spectacular exclamation point to any TV or online marketing I did. I liken it to the roar of the MGM lion we see at the beginning of any MGM movie.
Ripley’s Comes in First…Twice
So I took home a couple of First Place awards for my international marketing efforts this year for the “Freaking Out Families” ad campaign. In this case, I won Best TV for “Wait for It” and Best Outdoor for “Come See What Noah Left Behind”. It was cool because Ripley’s had never even been nominated before, and I was a finalist in four categories, winning two and running-up in the other two.
The best part was my work was up against the big guys — the biggest attractions in the world — with bigger budgets (certainly more than I had spent) and I still came out on top.
The best part was to have my brand recognized as a real player in marketing. The story appears below.
Ripley Entertainment Takes Home Two First Place Trophies in International Marketing Awards Competition
Orlando, Fla. (PressExposure) December 03, 2008 — It’s been a fruitful year for the marketing department at Ripley Entertainment. For the first time ever, the worldwide authority on the weird and bizarre, as a corporate entity, made it to the finalist category in an international marketing competition and was good enough to take home two first place finishes.
The Brass Ring Awards highlight originality, creativity, and excellence in marketing among professionals in the industry worldwide and is sponsored by the International Assn. of Amusement Parks & Attractions (IAAPA), the world’s largest amusement industry trade association with more than 4,500 members in 90 countries.
Ripley Entertainment, with more than 70 attractions representing 11 different brands in 12 countries, with more than 13 million in annual attendance, competed in Class 4, which means it was up against the most attended attractions in the world, including the Disney, Universal, Six Flags and Busch theme parks.
Ripley collected first place in the “Best TV Commercial” category for “Wait For It, a” 15-second commercial that was a playful mix of archived footage, silly music, and funny, full-frame comments. It was used on broadcast and cable TV, in-room television, online, and on video monitors.
A first place was also earned in the “Best Outdoor Advertising” category for the “Come See What Noah Left Behind” billboard. The winner was part of a multi-layered campaign that used striking images from the Ripley archives combined with quirky headlines and the iconic Ripley logo. In addition to the Noah board, headlines in the campaign included “Actually It’s Rude NOT to Stare,” “Proudly Freaking Out Families for 90 Years,” and “All the Stuff Mother Nature Swept Under the Rug.”
“We had never been a finalist in the IAAPA Brass Ring Awards before, so these wins are big for us. It means that Ripley’s has been recognized by our peers as a real player in marketing, in the industry in which we operate,” said Steve Glum, VP Marketing of Ripley Entertainment.
In 2008, the 90-year old company, under Glum’s leadership, created its first fully-integrated, multi-platform, international, translated advertising campaign, used by many of the 32 Believe It or Not! odditoriums worldwide.
“As we expanded internationally and broke ground on our new locations in Bangalore, London, and New York City during the last couple of years, the need for a consistent look and feel in marketing materials had never been greater,” said Glum. “We created a simple campaign, with a nod to both past and present, bringing Ripley’s weirdness and brand DNA to the world. Elements included print ads, brochures, rack cards, TV commercials, t-shirts, business cards, webisodes, and online banners. The campaign was translated into English, Spanish, French, Hindu, Croatian, and Greek.
Ripley’s Most Successful Retail Endeavor Ever
This is part of the “Freaking Out Families” ad campaign I created for the Ripley brand in 2007/08. It was so well-received internationally that when the campaign was applied to retail, it became the single most successful branded merchandise campaign Ripley’s has ever created, and sold extremely well.
The artwork was seen on t-shirts, hats, and glassware. It was also probably the first truly wearable campaign ever created, and it certainly resonated with tweens & teens. That was a cool spin-off of the campaign, and I was proud of that.
Ripley’s Shockingly TRUE Stories TV show
This is a great one. As VP of Marketing & Branding, I needed the Ripley’s brand back on TV. Our company and franchise same store sales had dropped off significantly since the end of our previous TV show, the one hosted by Dean Cain. That show had been in reruns since 2004, and wasn’t helping us anymore. A big part of my reinvigoration strategy for the brand had to include a new TV platform.
But getting on TV is not an easy task. Everybody wants a TV show about their brand, or wants product placement, or location placement, or branded content placement, right?
Trust me, they do.
So, instead of waiting around for a production company or network to come to us with a show idea (as we had done in the past, before I joined the company), I decided to write a TV treatment myself. I had written treatments before, and actually sold one in Hollywood in 2001. My strategy for Ripley’s was, if I could get us back on TV, that it would increase our awareness internationally, and quite simply, same store sales would grow. As well, a new TV show could include wireless and broadband platforms, and would support every part of our business…Marketing, Publicity, Archives, Exhibits, etc., all while driving multiple streams of newfound revenue.
I had a concept, and what I needed now was a production company. But I needed one that could see my vision for the brand, and help me get there. After a few meetings with different folks, I found the perfect partner…Insight Productions in Toronto, Ontario.
The concept was fine-tuned, some very smart and creative people got involved, and when it was done, the treatment was tremendous. We immediately started to get interest from some of the biggest names in TV, and when I made the announcement of the show at MIPCOM 2008 in Cannes, France, the William Morris Agency was at our side. The sizzle reel is above, and the announcement of the show from MIPCOM is below.
Pictured: Insight’s John Brunton (left) and Barbara Bowlby, with me in Cannes.
Insight Productions and Ripley Entertainment Announce Co-Venture Agreement for
Ripley’s Believe It Or Not! Shockingly TRUE Stories
Cannes, France - October 13, 2008 Leading television developer and producer Insight Production Company Ltd. and one of the world’s foremost entertainment companies Ripley Entertainment Inc., announced today a co-venture agreement for a new series based on one of the world’s iconic brands Ripley’s Believe It Or Not! The one hour series will be shot on location around the world with wireless, text and broadband components integral to the show.
Ripley’s Believe It or Not! Shockingly TRUE Stories is a white knuckle one-hour weekly “shockumentary” TV series that follows the field agents of Ripley’s Believe It Or Not!’s seven international bureaus as they embark upon daring expeditions to obtain incredible artifacts from exotic, far-off lands and the shockingly true stories behind them – discoveries which have to be seen to be truly believed! If a three-armed monkey turns up in Sri Lanka, Ripley’s is there. If the mummified head from a lost ancient tribe that challenges the theory of evolution is unearthed on an Indonesian island, Ripley’s highly-trained team is on the move, cameras rolling, searching for the tale behind the treasure. It’s a race against time to retrieve the priceless discovery before it gets away and is lost forever.
“That passion for discovery, that same wonder of the world’s oddities that drove Robert Ripley across 200 countries over 70 years ago, will once again be experienced as our modern day explorers comb the globe for the marvels of our time and share the extraordinary stories behind them,” said John Brunton, President and CEO, Insight Production Company Ltd.
“This is a tremendous opportunity to team with Ripley Entertainment to create a series that embodies the amazement at the very core of Ripley’s globally-known brand,” added Barbara Bowlby, co-executive producer and EVP Insight Production Company Ltd.
What began almost a century ago as Robert Ripley’s personal quest to unearth the incredible - but proven - marvels of the world, has grown to become Ripley Entertainment Inc., a global leader in location-based entertainment, including 68 attractions operating in 12 countries with over 13 million visitors annually. New flagship ”odditoriums” have recently opened in New York’s Times Square, Bangalore, India, and London’s Piccadilly Circus. Ripley’s Believe It or Not! cartoon still runs daily in 200 newspapers in 42 countries.
Ripley’s Believe It or Not! Shockingly TRUE Stories was developed by Insight Productions together with Ripley Entertainment from a concept created by Steve Glum, Ripley’s VP of Marketing. Produced by Insight Productions, Executive Producers are Insight’s John Brunton and Barbara Bowlby, and Ripley’s Steve Glum. The William Morris Agency is representing the series in the U.S.
“I wanted the unique Ripley’s Believe It or Not! brand to be realized on screen in a fresh and modern way, with television, wireless and broadband content delivery built in,” said Steve Glum. “When I met John Brunton and his team, I knew instantly Insight was the right partner. With their tremendous experience and great passion for storytelling, Insight is the perfect collaborator on a series that will turn heads.”
“We are very excited to be repping Insight Productions and Ripley Entertainment on this amazing new project,” said Mark Itkin Executive VP/Worldwide Co-Head of Television, The William Morris Agency. “They have taken an iconic brand and created a unique and fresh format that will sell all over the world. It is very compelling television.”
Insight Production Company Ltd, headed by John Brunton & Barbara Bowlby, is a recognized industry leader in the creative development, financing and production of highly rated television programs in every genre. Insight has created thousands of hours of groundbreaking television that continues to be broadcast over major networks worldwide and its reputation for quality has been recognized with numerous international awards. Recent hits include Canadian Idol, Canada’s homegrown version of the hugely successful international format, now in its sixth season; Are You Smarter Than a Canadian 5th Grader? an exciting game show that takes adults back to the ‘classroom’; Project Runway Canada, hosted by International Supermodel Iman and Deal or No Deal Canada, the hit primetime game show, starring Howie Mandel, which delivered to Global Television Network its highest ratings of all time for a Canadian program. (www.insighttv.com)
Ripley Entertainment Inc., keeper of the venerable Ripley’s Believe It or Not! brand, is a global leader in location-based entertainment and is considered the worldwide authority on the weird, strange and bizarre. In addition to its 68 attractions, including 32 Believe It or Not! museums, the Orlando, Florida-based company has publishing, licensing and broadcast divisions that oversee projects including the globally syndicated Believe It or Not! television show, best-selling books and the popular syndicated cartoon strip, Ripley’s Believe It or Not!, that runs daily in 42 countries. Ripley Entertainment is a Jim Pattison Company, the third-largest privately held company in Canada. (www.ripleys.com)