Showing posts with label branding. Show all posts
Showing posts with label branding. Show all posts

Monday, November 17, 2014

authenticity is bullshit

‘Rather than seeking primarily to arrive at accurate representations of a common world, the individual turns toward trying to provide honest representations of himself.

It is as though he decides that since it makes no sense to try to be true to the facts, he must therefore try instead to be true to himself.

[But] there is nothing in theory, and certainly nothing in experience, to support the extraordinary judgment that it is the truth about himself that is the easiest for a person to know.

Our natures are, indeed, elusively insubstantial—notoriously less stable and less inherent than the natures of other things.

And insofar as this is the case, sincerity itself is bullshit.’

The above is a shortened version of the closing remarks from Harry G. Frankfurt’s famous philosophy essay ‘On Bullshit’, first published in 1986 and still widely regarded as the closest thing we have to unified theory of bullshit.

‘Sincerity itself is bullshit’

Those closing remarks of Frankfurt’s theory sprang to mind as we noticed an article on Salon.com this week entitled ‘Let’s all be a lot less Honest’ in which author R. Jay Magill Jr. asked if it's time to:

‘...drop our authenticity fetish and get real about the neglected art of playing social roles’.

Magill’s article begins by addressing a piece by Duke University law professor Jedediah Purdy, in The Daily Beast entitled ‘Why Your Waiter Hates You’, in which Purdy argues that modern capitalism performs:

‘...a pervasive intrusion on a key aspect of autonomy: the right to be yourself.’

Purdy means that many workers - low paid service workers e.g. waiters and waitresses - are being extorted because they have to be nice to customers (presenting a public self) in order to receive tips for insatnce, even though the act makes them betray their real feelings (their private self).

Magill, however, contests this and argues that to keep the private self and public self separate does not demean the latter just because it is not ‘real’ or ‘authentic’.

He goes on to state that ‘the public self is as real as the private self; it is our overvaluation of the latter that has thrown the long-standing importance of the former into doubt.’

It is this idea of the overvaluation of the ‘private’ or ‘authentic’ self that crosses over into some of the popular ideas in what seems to represent a significant portion of modern branding and advertising theory.

Scarcely a week goes by without the deluge of articles from marketing experts and commentators (most commonly from the digerati, curiously) demanding authenticity from brands.

That a brand should ‘provide honest and authentic representation of itself.’

And if that’s not enough, it’s claimed in some quarters that these authentic brands should not even be concerned with the grubby business of making a sale!

I’m not sure what industry some of these people think they are in.

It is widely claimed that rather than being simply social and transactional brands should instead be concerned with seeking a deep connection, engaging on a personal level with the individual.

And that advertising which attempts to put memorable campaigns in front of mass audiences with the intention of getting a brand thought of momentarily the next time the consumer wants to buy from the category, is somehow inauthentic.

The commentators who espouse this theory seem very certain that this is the way forward for brands, yet there is scant evidence that any consumers out there even want to engage with brands at all, and even thinking about brands is something that most people spend very little mental energy over.

It's worth noting - with some irony -  that many of those commentators who demand this of 'brand authenticity' are among the worst bullshit offenders.

Returning to Frankfurt's text briefly...


'Bullshit is unavoidable whenever circumstances require someone to talk without knowing what he is talking about.

Thus the production of bullshit is stimulated whenever person’s obligations or opportunities to speak about some topic exceed his knowledge of the facts that are relevant to that topic.


This discrepancy is common in [marketing journals], where people are frequently impelled—whether by their own propensities or by the demands of others—to speak extensively about matters of which they are to some degree ignorant.'

This clamour for authenticity from brands seems also to be connected to what Magill describes in his article as the ideology of intimacy.

‘The ideology of intimacy promotes the idea that social relationships are only real, authentic and meaningful the closer they approach the inner life and vulnerabilities of a person.

[It] encourages ever-increasing closeness - between people, nations and cultures - and decries interpersonal or intercultural distance as cold, fake, distant or aloof.

This assumption runs so deep in culture that we no longer see it, let alone question its worth.’]

But do we really need this ideology of intimacy to dominate the discourse around brands and consumer relationships?

Magill concludes ‘social culture is only “cold” or “distant” if you go in to social interactions expecting warm and fuzzy feelings from people you do not know.’

It works in both directions too.
Modern marketers have a misguided obsession with knowing the details of consumers' private lives (principally driven by that other marketer fetish; big data) - believing this will make their efforts more effective.


In a social and market context however, impersonal behaviours are far more useful, simply because they create 'a boundary between one’s real feelings and the impersonal world of transactions'.

The principal difficulty with the brand authenticity lobby is that it crosses the streams.
If you're familiar with Ghostbusters then you will understand just how problematic this is...

As Dan Ariely pointed to in Predictably irrational, we live simultaneously in two different worlds.
One where social norms prevail, and the other governed by market norms.

'Social norms are wrapped up in our social nature and our need for community. They are usually warm and fuzzy. Instant paybacks are not required: you may help move your neighbour’s couch, but this doesn’t mean he has to come right over and move yours.


The second world, the one governed by market norms, is very different. There’s nothing warm and fuzzy about it. The exchanges are sharp- edged: wages, prices, rents, interest, and costs- and- benefits. 

Such market relationships are not necessarily evil or mean-in fact, they also include self- reliance, inventiveness, and individualism-but they do imply comparable benefits and prompt payments'. 

Emotional honesty may be a nice personal quality to have, but it has nothing to do with solving anyone’s washing powder problem, and by keeping things on a ‘social relation’ level – with all it’s inherent fake-ness – is a more authentic relationship than any sincerity bullshit.


Rather than pursuing the futile quest for brand authenticity we’d all (brands and consumers) be perfectly happy with brands that are ‘impersonal, but friendly’ (a phrase coined by social historian Peter Stearns about the American smile’) and allow us to transact without crossing the streams.

Have a nice day.


Wednesday, April 23, 2014

how branding actually works


“If there was anything I'd learned, it's that the man never chooses the woman.
All he can do is give her an opportunity to choose him.”

― Neil Strauss, The Game: Penetrating the Secret Society of Pickup Artists.

Similarly it's not the brand that chooses the customer.
This is the great myth of 'targeting'.
All that brands can do is give customers an opportunity to choose them.

Wednesday, March 26, 2014

this is a generic brand video



So, this film should give ad people a wry smile.

Particularly when viewed in the context of the whole 'humanisation' of brands lobby that won't seem to go away.

Though knowing that it is indeed a real ad for the company that sells the stock footage used, did leave me somewhat perplexed about what exactly is being communicated.

Maybe I'm over-thinking it.

Thursday, February 06, 2014

distinctive brand assets again #BobDylan

By the mid-80's Bob Dylan's singing voice had somewhat evolved from his 'classic' 60's period ouvre.

Softer and a touch more melodic.

While not troubling the pop charts as often as in the previous two decades he was still pretty huge.

Therefore Bob was an obvious shoe-in for Lionel Ritchies 'We Are The World' project.

For younger readers, this was a US version of Bob Geldof and Midge Ure's Band Aid, a multi-artist charity song to raise funds for the Ethiopian Famine crisis.

The story goes that as Bob was rehearsing his lines in the song, Ritchie - the musical director - was having trouble getting to grips with Dylan's softer vocal approach and phrasing.

Ritchie was mindful of the fact that each individual voice needed to be instantly recognisable and distinguishable for a mass global public.

In the end, the only way Ritchie could ar the performance he wanted from Bob was to articulate it thus..

'That's great Bob, but could you do it again. This time make it a bit more....Dylan-ish'.

The clip below doesn't feature this fabled exchange however you can see Dylan making a solid effort to sing more like 'himself'.



As a footnote, his Bob-ness popped up in an epic, de rigueur, Chrysler Super-Bowl spot.

To the cries of sell-out from the outraged faux-hipster commentators, obviously.

But the furore reminded us of this nugget from Heath and Potter's Rebel Sell.

'Whenever you look at the list of consumer goods that [according to critics of capitalism] people don't really need, what you invariably see is a list of consumer goods that middle-aged intellectuals don't need ... Hollywood movies bad, performance art good; Chryslers bad, Volvos good; hamburgers bad, risotto good.'



Thursday, January 16, 2014

tell me now 'n' show me how. to understand what makes a good ad?



While I have no desire to repeat the 'make the logo bigger' kerfuffle that followed my comments on the lack of branding in the John Lewis Christmas ad being best understood as an exception rather than a rule - there's another example in this area that has cropped up.

And while my JL comments were actually misinterpreted by most of the detractors I stand by them.

The purpose of branding is, for the most part, creating mental availability - making the brand easy to remember and salient in buying situations.

Creativity is, obviously, the vehicle by which this happens.

But it is still advisable to introduce distinctive brand assets into the content quicker and sometimes more frequently.

So I was interested to view Doddsy's comments on the fantastic new Guinness spot, and will then humbly suggest perhaps a middle way.

John says:

'Guinness's new advertisement featuring the elegant gentlemen of Brazzaville ties in well with their theme of individuality and is unquestionably interesting and visually arresting. But, oh how they shoe-horn in the product shots towards the end and emphasise that this is indeed an advertisement and not a slice of culture.

Personally, I'd have settled for a single mention at the end of the piece and the assumption that the viewer was intelligent enough to make the connection. This way, I fear the reaction is much more likely to be along the lines of "What's this got to do with Guinness?"


If we agree that effective advertising needs to do two things.

1. Be well branded
2. Get noticed.

Then the spot definitely does point 2 but perhaps, to John's point, doesn't do point 1 so well as the product and branding seems somewhat clumsily placed.

So here's my first question.

What's so funny 'bout getting the branding in from the get-go right up front?

'Guinness presents...' then on with the show?

Creatives hate this idea when I suggest it, though I've never had a decent explanation of why.

Second question is around the obvious lack of paid promotion.

The clip is currently sitting at a paltry 165k views despite having all the hallmarks of multi-million viral smash.

There's solid data from Karen Nelson-Field's research at Ehrenberg-Bass that suggests the creative device used (essentially 'personal triumph') tends to be shared the most, and it has the high arousal positive emotional response element (inspiration, probably) plus a kick arse swamp rockin' soundtrack by The Heavy.

Again, according to the data the single biggest predictor (assuming it does the tricks as mentioned above) of online video sharing is it's initial distribution.

For the best performing videos it's about 8 views to 1 share.

24 to 1 is the average.

So to get sharing, initial seeding/paid support is key.

The social media myth is that we need to reach a few influentials in order to reach millions, in actual fact the opposite is true.

You need to reach millions to infect the rest.

Also, to that point, and in an apples for apples situation (i.e. Compelling content that evokes high arousal emotional response) brand videos that are on TV + online are likely get shared more than online only.

But in summary.

If a video evokes a high arousal positive response then the amount of branding present will not inhibit shares and views so, don't be shy, get it in there, right up front.

Even the greatest, most creative most exciting video if only seen by a few people, wont get many shares. Get it in front of as many as possible.

Thursday, October 17, 2013

There's more to life than books, you know. But not much more.



Has Penguin Classics 'chucked 67 years of editorial rigour and learning out of the corporate window and kowtow to the whims of a petulant pop icon' or is it that 'a single, fixed idea no longer suffices in the modern business'.

My sense is that the latter is closer to correct.

While the release of Morrissey's 'Autobiography' on the Penguin Classic label appears to have offended the sensibilities of certain elements of the literati one can't help wondering if this is a splendid demonstration of a kind of arch detournement from the Mozfather and further fuel to the notion that the quest for, or perhaps preservation of authenticity is but status-seeking/maintaining.

Presumably, for those disgruntled authenticateurs Morrissey is less authentic than Linton Kwesi Johnson, who collected poems have also been published via the Classic moniker.

But for Morrissey it's something of a marketing masterstroke.

Talk about salient, noticeable and refreshing existing memory structures.

Of course his book had to come out on the same 'label' as Wilde et al.
The Penguin Classic in hand or in back pocket is as distinctive a Mozzer brand asset as the hearing aid or gladioli.

And Penguin its growing their brand, attracting those new/lighter buyers again, for whom this tome will partner that other Penguin Classic - the copy of The Picture of Dorian Gray - that they already own.

Tuesday, November 23, 2010

branding

'Carefully watch your thoughts for they will become your words.
Manage and watch your words for they will become your actions.
Consider and judge your actions for they will become your habits.
Acknowledge and watch your habits for they will become your values.
Understand and embrace your values for they will become your destiny.'

I'm sure @herdmeister won't mind being quoted in the same context as Mahatma Gandhi, and he summarises thus:

'Brand is something you get.
It's the scoreboard, not the game'.

Thursday, November 18, 2010

incidentally...

It works in practice but does it work in theory?
Or is it the other way round?

Either way there's undeniably a few cute notions in this incidental media theme from Dentsu London labelled Making Future Magic.



At the end of the day their earnestness is admirable but I can't help but be slightly terrified of a near-future where every surface is a media channel to push messaging.

Just 'cos we can do something doesn't mean we should.

Basically I'm thinking this just equates to more noise and sometimes the best thing brands can do is just shut the f*ck up for a bit.

Monday, November 15, 2010

less is more



I was recently temporarily seduced by a NokiaN97 handset, with it's myriad of features, sliding keyboard, built-in sat-nav and all the rest.

In the end it went back, it was just too clunky, too complicated and the fact that they had thrown the kitchen sink at it made it ultimately unusable and a time-suck to do even the simplest of tasks.

In the quest for the iphone killer Nokia and many others bow to conventional wisdom that in order to beat the competition you need to cram more 'value', more stuff, more features into your thing.

Jimmy in this office just showed me his John's Phone as the antithesis of that.

They understand that for some people a phone is just that. A phone.
It makes and receives calls. End of story.

No text messaging.
No camera.
No apps.
One ringtone.

Here's their line.

'John’s Phone is the world’s simplest cell phone: you call, you hang up, and that’s it.'

John's phone does contain a simple address book, it's a deliciously analogue paper notepad and mini-pen, it's one nod to personalisation comes in it's 5 colour choices.
Snow (white), business (black), tree (brown), grass(green) and sweet (pink).

Sits alongside the Flip camera in the Less is More file - subset the product IS the marketing - and testament that doing one thing great is always preferable to doing lots of things with mediocrity.

Thursday, November 04, 2010

a small belief can mean you'll never walk alone

Just to re-iterate a point that's been made in these pages many times.
There is a massive difference between a brand standing for something and simply making a vacuous mission statement or concocting some convoluted commercial proposition.

Dynamic engineering for the modern world or some other generic bollocks is NOT standing for something.

It might look nice in some brand onion but means diddly squat to people.
And it's people who you need to connect with.

Standing for something means putting a stake in the ground, drawing a line in the sand or putting up the flag and saying 'this is what we believe is right and this is how we make a difference in the world, today'.

Saying and doing something that actually matters.

Making a commitment.

Doing this saves time and money because you don't have to think and debate and argue the toss about what to do every time and it immediately connects you with others who share that worldview.

A small belief can mean you never walk alone.

I keep coming back to the five questions posed by Tom Peters in Re-Imagine.

1 - WHO ARE YOU?
2 - WHY ARE YOU HERE?
3 - WHAT MAKES YOU UNIQUE?
4 - HOW CAN YOU MAKE A DRAMATIC DIFFERENCE?
5 - WHO CARES ABOUT YOU?

This is where it starts.

Saturday, July 03, 2010

urban camouflage



Chapel Street here in Melbourne is a semi-trendy strip full of boutique fashion stores alongside high street fashion, restaurants, cafes and bars.

A bit like a five mile long Camden, except cleaner.

South East Water
are refurbishing all the water pipework along the street and have cleverly hidden the work going on and the holes in the ground with these rather cute bits of camouflage/signage, so as to blend in nicely with the feel of the street.

Friday, April 23, 2010

how to do direct mail part 238 via @justinbasini

A lesson in how to turn a piece of direct mail in to a 'brand experience', in this clip courtesy of the Justin Basini Brand Marketing blog.



For me, one of the most powerful little touches is the hand written note that is is included. Fantastic.

Thursday, April 22, 2010

6 habits of effective branding with a nod to jamie oliver


'Good evening, i'm from Essex, in case you couldn't tell.
My given name is Dickie, I come from Billericay and I'm doing very well'

Jamie Oliver's opening line from his TED Prize acceptance talk - 'I'm Jamie from Essex, I'm a chef' - echoing Essex's other favourite son, Ian Dury (un-selfconciously or not) but the embodiement of the base of contemporary successful branding.

In Chris Rojek's book on Cultural Studies he describes capitalism as having shifted into a new stage of 'cultural development in which branding, advertising and marketing link consumption with popular empowerment'.

We are witnessing this every day now, powered by the emergence of social technologies. There's plenty said about that elsewhere, so i'll leave that alone for a bit.

What I did find useful is what Rojek describes as the six key features of what he calls 'neat capitalism'. Comparing the approach of successful contemporary branding vs traditional capitalist 'corporations', of which the rise of Jamie's star (and others) is a case in point.

1. Informality
'I'm Jamie from Essex, I'm a chef'.
Jamie doesn't wear a suit, doesn't even describe himself as a 'business' person.
In fact he clearly distances himself from that world, in the same manner as Branson, Jobs st al before him.
For another example, just look at the current election lead-up and David Cameron, with his metaphorical and literal sleeves-rolled-up and Nick Clegg with the relaxed demeanour and open-neck shirt. Compared to that Gordon Brown's looking decidedly old-school.

2. Social Conscience
Conventional, traditional business and corporations are widely acknowledged as being at the root of many of the abuses of human rights, exploitation of labour and environmental damage amongst other things.
New branding challenges this and actively seeks to 'make a difference'.
Jamie's crusade to save lives through healthy diet is ,in effect, his 'enterprise'. The Food Revolution.
When Guy Kawasaki talks about 'make meaning first, the money will follow', this is what he is describing.

3. Innovation
We mentioned Branson earlier. Virgin being the poster child of innovation.
Their approach being to look for sectors dominated by jaded, inflexible 'business cultures' and wading in in with game changing approaches. Air Travel, Mobile, TV have all been shaken up by Virgin's disruptive methods.
Jamie, similarly, being almost transmedia personified. No touchpoint being left 'untouched'.

4. Listening to (and partnership with) consumers.
Transparency, value, service are the cornerstones. The biggest mistake traditional business is making is paying far too much attention to it's own processes and needs ergo failing to connect with their customers.
We've talked about the new customer buying journey and passive/active loyalty in this space before. Being present when consumers are 'reaching out' for information and responding.

5. Being Flexible.
Again, listening to the market and looking for branding opportunities.
If Jamie ridgedly stuck in 'product' mode he'd still be in the kitchen in his dad's pub. In 'brand' mode he is not confined by narrow product category definitions and, like Branson, can happily apply the brand to any sphere. Restaurants, books, accessories, TV, even wine.

6. Entertaining (or Fun)
Doing good, making a difference (and making money) can be an enjoyable thing to do.
Albeit within a 'market' context (so let's not kid ourselves that it's somehow 'revolutionary'). But never mind the business logic, a smile (as in a yawn) is infectious. Po-faced is not a good look.

Note: As a mere advertising douchebag, this is my simplistic interpretation, if you are after the concise socio-poitical lowdown, I suggest reading Rojek's book ;)

See what I did there? Informality.

Friday, April 16, 2010

boring is sexy?


In an age where we distrust financial institutions more than ever before, this bit of branding by Montana Credit Union has a refreshing honesty about it.

The intro copy on the boring is sexy website reads:

“When it comes to your money, too much excitement is the last thing you need, Montana 1st Credit Union has been prudently boring the socks off Missoula for more than 78 years.

Just ask your Grandpa. Since 1931, we’ve been quietly doing what’s right for our members without any high-roller excitement. No corporate jets, no million-dollar salaries. Jus
t great rates and outstanding member service, year after year after boring year.”

In ultra boring Courier too (for typography geeks).

Check out, some of their products:
- Plain Vanilla Auto Loans
- Mild-Mannered Mortgages
- Dull Home Equity Loans
- Safe & Stodgy Savings

Even the billboards mention nothing about the product, just the url.



They give away 'sensible' free ice-cream in the branches and even the strapline is disruptive: 'Boring since 1931.'

Informality, entertaining, innovative.
Top marks.

Take note Gordon Brown. You can still win this thing, mate.


Many thanks to thefinancialbrand blog.

Monday, February 08, 2010

essential purpose


Once you figure out what a brand 'stands for' it's much easier to figure out what to do with their advertising and marketing.

Sounds pretty straightforward but I'm always surprised at how often it's either ignored or not deemed to be that important.

Particularly when looking for a role to play within the social media and using the social technologies that connect people.

Without a clear purpose then it's just papering over the cracks or sprinkling hundreds and thousands on the top.

This purpose is often described as 'brand essence' and lives at the centre of some kind of onion type analogy.

I would argue that it's simpler than an an onion, and is more akin to the diagram above.

And anyway, often this 'brand essence' may mean something to the people creating the chart but means bugger-all to a punter.

Once a clear purpose is established it becomes a life state that feeds into the outward facing physical manifestation of the brand (the things it says and does) and also into the spritual aspect (how we feel about it).

Built on shoddy or questionable 'essential' qualities will manifest itself as a reflection of those qualities in the physical and 'spiritual' truth of the brand.

The good news is, fixing the inside first, the essential, will alter the other two by default.

It can start right now and the effects begin immediately.

Herein lies the potential for innovation (and the ROI)...

Monday, February 01, 2010

gurus of new marketing #979 : eric cantona


There have been better players, who've scored more goals, done more charity work and been better role models but when the late great George Best is said to have admitted he would he would have given up drinking to play alongside Eric Cantona, you know you are dealing with a true star.

Thirteen years since he last professionally kicked a ball (or a hooligan) and we are still talking about him.

Wednesday, December 16, 2009

london calling at the top of the dial

Unbelievably it's 30 years ago this week since the Clash released their 'difficult' 3rd album London Calling. Still the greatest of all time IMHO.

I can still remember legging it down to The Other Record Shop in Aberdeen after school - fiver in hand - to buy it.

The Clash were famously in debt to CBS for many years due to the fan friendly price point.

A fiver for a double LP in 1979 was commercial suicide for a band relying on major label funding for recording, production, manufacturing and distribution.


Whereas now a band can give the music away for free and make more money, without compromising the connection with true fans.

The Clash were, of course, masters of branding.
Not marketing tricks (they often failed at that) - but having a single, ownable brand idea and sticking with it, building the story (or myth)at every touchpoint, but having an inclusive story that the audience could feel ownership of.

I'm reminded of Tom Peters' top 5 brand questions.

1 - WHO are YOU?
2 - WHY are YOU here?
3 - How are YOU UNIQUE?
4 - How can YOU make a DRAMATIC DIFFERENCE?
5 - WHO CARES about you?

This Jon Savage nugget easily answered all of those questions.

'The first thing that needs to be said is that the Clash’s legend is deserved. After the middle of 1977, when the Sex Pistols became remote, stalled in outrage, the Clash became the leading UK punk rock group: it fell to them to articulate, advise (for that was in their nature) and galvanise the energies of a new and rapidly growing rock community. Like the Sex Pistols, their ambitions went beyond music: they aimed to dramatise a city – London – and a country in crisis. As their name baldly stated, they were programmed for confrontation, contradiction and conflict – and they got all three in spades.'

Below is a Mick's 'hilarious' take on what constitutes a 'sell-out'.

Friday, August 14, 2009

some things are meant to be together



This was a sponsorship/partnership waiting to happen.
Now it has. Madmen and Playboy.

The vintage car articles are of particular interest.

HT brandDNA