Wednesday, January 15, 2014

someone left a baby in the car park



Somewhat more slapstick than the Carrie thing from last year, which we described as something of a masterclass in the construction of situations, but this one, for horror schlock-flick Devil's Due, gains entry to the archive due to our current obsession with public interventions and the splendid application of technology to enhance what is essentially a simple activation.

Quick recap on situations for those who have not been paying attention.

According to Debord et al a constructed situation is a ‘moment of life concretely and deliberately constructed by the collective organization of a unitary ambiance and game of events.’

A situation is designed to be lived by its participants.

It’s not just ambience, it’s an integrated ensemble of behaviour.

Situations require:

1. A temporary director or orchestrator.
The orchestrator is responsible for coordinating the basic elements necessary in the construction of the situation, and for conducting certain interventions.

2. Direct agents
The direct agents living the situation, who have taken part in creating the collective project and worked on the practical composition of the ambience.

3. Passive spectators
Passive spectators who have not participated in the constructive work, BUT whom can/should be forced into action.

That's the theory, and whack in some high arousal emotional response (ie physiological) and you are building those memory structures and associations nicely.

Extreme terror is obviously a tactic that should only be employed for certain categories. But when it works it works.



emergent strategy or just good strategy?

Presumably we're all familiar with the notion of agile, or emergent, strategy. The key idea being around limiting up-front planning to a minimum viability based on the assumption of impermanence and unpredictability in any given situation.

Emergent strategy is structured in order to be able to quickly adapt to new conditions as they arise.

Perhaps a close cousin of lean principles, much emergent planning theory is loosely based around the Google 70-20-10* formula for product development.

A formula by which 70% of resources are devoted to Google’s core group of revenue generating activities eg search and advertising. The fabled 'googletime' 20% was supposedly allocated to self directed innovation projects that Google staff were encouraged to pursue, while the final 10% was allegedly allocated to scaling up the bits and pieces that showed promise from the 20% time.

*Turns out that the 70-20-10 Google rule is more myth and legend than anything that actually happened in practice but it's nice in theory.

So in the advertising sense, applying 70% of budget and effort towards proven activities, 20% riffing on innovations based on what is known to work and 10% on wild card experiments also sounds good in theory but one would have a hard shift explicitly pushing that idea through with most of our clients, though of course that's not to say that things can't be framed to be palatable while still being somewhat true to the theory.

[So, this is perhaps where the most value can be gained out of so-called brand 'communities'.

By that I mean the tiny fraction of a brands customer base who seem to demonstrate some degree of loyalty.

This requires reframing these customers as an 'asset' rather than an audience.

This is perhaps the hardest thing for the social media marketing fraternity to swallow.]

For instance continually generating a broad range of small-scale low cost experiments, and then scaling up the ones that gain traction in order to innovate.

Again this is nothing new. Make small bets, light small fires etc.

But my question here is really this.

Is this emergent strategy? Is this agile planning?

Or is it just good strategy?

Reading Rumelt again over the holidays I became obsessed with this nugget.

The best strategists don’t choose or decide on a strategy; they design novel responses to challenges.

Given that challenges will always appear because of the inherent unpredictability in any given situation the emergent strategy is simply good strategy.

In fact Rumelt's kernel of good strategy seems to describe emergent strategy better than a appropriation of the Google rule.

The kernel of good strategy being made up of three components:

1. A diagnosis:
The more knowledge you can glean about the problems and the implications of your strategic options, the better equipped you are to tackle a diagnosis.

2. A guiding policy:
A guiding policy is not a set of hard goals. It does not say where the brand wants to go; it's some some general rules or guidelines for helping meet the challenges from the diagnosis.

3. A set of coherent actions:
So, once we have a diagnosis and a guiding policy established, a set of coherent actions is designed to implement the guiding policy.

Rumelt reckons that too many strategists, mistake the guiding policy for the strategy and forget the action element. And I've been guilty of this myself in the past, handballing what I falsely believed to be 'strategies' (ie guiding policies) over to comms planners to map and action.

So emergent strategy is really just good strategy.

And, in fact, strategy is not a thing in itself but is only realised when the three components of the kernel are present.

Monday, January 13, 2014

okay, okay, dont push us when we're hot!

I've always found it peculiar to have reviews of creative work and suchlike at the end of the working day.

While I have no data to back this up, one often finds that decisions made at these reviews will subsequently get reversed, modified or even thrown out the following day with the benefit of fresh eyes and ears.

In previous incarnations (and when it was my responsibility) I've set processes in place to allow for big decisions to be made in the early part of the day to allow for the rest of the day to be spent implementing and iterating. By the end of the day tired brains are in more of a state of flow rather than requiring big cognitive effort.

So when, at the tail end of last year, Stirling University's Behavioural Science Centre published a post on their blog highlighting their top 15 Best Behavioural Science Graphs of 2010-13 I was not surprised to see included the famous Danziger, Levav & Avnaim-Pesso (2011), Extraneous Factors in Judicial Decisions chart.

I've used this example in many presentations over the last couple of years to demonstrate the idea of ego depletion.

Ego depletion being the term used to describe the idea that things like self-control, willpower and the ability to perform tasks that require hard cognitive effort draw upon a limited supply of mental resources that can be used up. In essence a typical situation where system two type processes get too whacked out to function and therefore system one will take full control.

In the study the researchers examined over 1000 judicial rulings over a 10 month period by parole judges. The judges reviewed up to 35 parole cases per day and they took two daily food/coffee breaks (ie elevenses and lunch), and dividing the judging day into three sessions.



These break periods were pretty vital for those in the dock as the probability of the judges granting parole falls steadily from a high probability at the start of the day and just after breaks to nearly zero just before the breaks.

So the lesson being that if you find yourself in court - and presumably hope to get let off - then you want to be in front of the judge first thing in the morning or just after lunch or coffee breaks. Otherwise you'll be looking at a stretch.

Likewise, if we want to get the work right rather than just done and save on time wasted doing things over, a simple self-nudge may be to only schedule creative reviews in the mornings or right after lunchbreaks, to get the thinking bit done when there's brainjuice and get the doing done when there's flow.

Monday, December 23, 2013

if you kissed me now I know you'd fool me again

Seasons greetings and that to everyone who's read and shared this blog throughout the year and also to everyone who's ideas and thinking has shaped the stuff written here.

As is traditional we finish off for Christmas with a tune.

Here's James from the Manics injecting some angst into Wham's Last Christmas.

Thanks again, and see you after the break.

Eaon

Wednesday, December 18, 2013

if you can think of it, it must be important

It's sobering to note that at the end of 2013 there are still people, clients, agencies and organisations out there who are in varying degrees of confabulation - driven by emotions ranging from blind terror to rapture - around the impact (both apparent and potential) of the social media for their businesses and communications.

This, of course, only contributes to further uncertainty and, as we know, under uncertainty, biases in judgement - most often created by too much (or indeed too little) information - will lead to errors of thinking (and doing).

While we could joke that this situation would be easier to navigate if only there were some experts out there to offer guidance?

Or some information websites on how to successfully leverage social media?

Perhaps even a webinar or two or a set of ebooks one could buy?

Ha, but the problem is clearly the former. Too much information.

And in this situation two cognitive biases exert disproportionate influence.

Firstly, the availability heuristic is a mental shortcut by which decisions are made based on how easily similar examples that come to mind.

As a result, we tend judge that those events or examples that are easier to think of are more frequent and possible than others. We routinely overestimate the likelihood of similar things happening in the future, and likewise we overestimate the importance of stories that seem to be everywhere (ie easily mentally available).

From a brand marketing point of view, this bias is one that can be extremely useful.

Brands that appear to be popular, that are easily noticed and remembered (mental availability) and with the best distribution (physical/virtual availability) tend to benefit from larger market share. For a small brand looking to grow then getting to grips with availability is crucial.

[Interestingly, and statistically, one is more likely to be killed by a refrigerator falling on one's head than in any act of terrorism, but incidents of terrorism come to mind much more easily and are believed to be far more common.]

On the downside, the idea that 'social media is the answer to all branding and marketing problems' is a hugely available idea, initially propagated within the social media itself by 'experts' and - not only but also - repeated, received-wisdom-style by all and sundry, so that it comes so easily to mind that surely it must be true.

The reality being that there are very very few examples of brands that have been built or grown substantially through social media alone. Go to a few social media conferences and you will very shortly collect the set as the same examples are trotted out at every event.

The idea that 'consumers' want to have deep emotional connections and engage with brands is also a hugely available idea, while statistically on any given week, less than 0.5% of Facebook fans will engage with any brand they are fans of.

Given that a brand's Facebook following will mostly represent but a tiny proportion of its customer base, and for the most part follow for (let's be honest) customer service and/or freebie purposes then it's not a great case for growth through 'engagement'.

A season spent on the conference trail will further compound as one notices the constant presence of availability's close cousin, the projection bias, in which we tend to assume that others feel exactly the same as we do.

Secondly, another close cousin of availability (and projection) and perhaps the most dangerous and widely visible of biases in the social media space is the confirmation bias.

Until recently this was perhaps best described as the social media bubble, fishbowl or echo chamber, in which members display tendencies to read material that confirms existing beliefs, pay more attention to information and people who confirm existing beliefs, and search for corroborative evidence to confirm existing beliefs.

Chuck in a dash of sunk-cost fallacy and it's easy to see why, even in the face of evidence to the contrary, there is now a whole industry of social media gurus who want the 'death of this or that' to be true, will cherry pick and spotlight anything that supports it, and then congratulate themselves on their accuracy.

The word guru has it's origins in Sanskrit, the primary liturgical language of Hinduism.

Much can be learned from ancient eastern wisdom, of course.
Not least a healthy skepticism of the self-annointed thought-leader or guru.

The Kularnava Tantra is an important and authoritative text of the Shakta Agamic tantra tradition and a major statement of Hindu spiritual thought, including this nugget.

‘…there are many gurus who may rob the disciple's wealth but few who can remove the disciple's afflictions…’

Humans are probably the only species with the ability to think about the future, yet that hasn't helped our ability to predict. In fact the only accurate prediction one can confidently make is that the majority of our predictions will be wrong.

My closing hope, as opposed to prediction, is that as an ad industry we can overcome our confabulation in the year ahead, understand properly the role that digital and social has in an overall communications piece (for a role they undoubtably have, but not the be-all and end-all) and focus on what's really important.

To be better at understanding the behaviour of people in buying situations and developing the kind of things and communications that have the best chance of influencing those behaviours.

And finally, to perhaps best illustrate that heady brew of availability and confirmation bias I leave you with this splendid cartoon, shared by Doddsy some time ago in an unrelated tweet, and one that has featured in a number of my presentations this year to illustrate some of the points contained in this note.



Friday, December 13, 2013

magic piano

Here's another nice little situational thing, a public intervention enhancing the mundane by use of 'invisible' digital technology.

Or possibly a man inside the piano.

Drawing in bystanders and spectators at Chicago Union Station.

The Magic Piano, allegedly responds to changes in the environment in real time.

Some of the participants in the clip are clearly actors (or direct agents, as we prefer to call them) but we still smiled.

Thursday, December 12, 2013

what is there to be seen and what we actually notice

The snippet below from Consumer.ology by Philip Graves - a tome who's place on the plannery types bookshelf should be taken as a given - gives further power to the argument that getting advertising and branding noticed in the first place and subsequently remembered in buying situations is our imperative.

And furthermore should raise alarm at how often and easily the lofty goals such as consumer engagement and deep emotional connections are trotted out as likely and achievable.

The reality being that people don't think about brands very much, nor do they know much about them or particularly care. While this sounds grim, what it really describes is the opportunity for creativity.

I think it was Dave Trott who said that the most important question on any creative brief, yet the one that rarely appears is 'how does this piece of advertising get noticed?'.

Anyway, I digress.

Here's the science bit.

"According to researchers from Penn University, the human eye can transmit approximately 10 million pieces of information per second. Regardless of the mind-boggling quantities of data involved, anyone who has ever spent any amount of time looking for something, and then found it in one of the places they had already checked, will know that there is a big difference between what is there to be seen and what we actually notice.

The highest estimates suggest that the most we’re able to process is around 40 pieces of information per second (from all our senses, not just visually), so you can forgive yourself for not finding those keys first time around!"


There is a big difference between what is there to be seen and what we actually notice.

In psychology one description of this phenomenon is 'inattentional blindness'.

Which leads me to this 'card-trick' from Richard Wiseman, kindly shared with us by Wiemer Snijders.

We are into card ticks this week, I played a simple one on the audience at AIMIA last week, as a faux-mass hypnosis memory experiment.

I subsequently recieved several messages asking how it was done.

As my magic-circle application is pending, unfortunately I can't reveal.



may I ask what you expected to see out of a Torquay hotel bedroom window?

In an episode of Fawlty Towers, Basil entertains a hard of hearing and somewhat curmudgeonly guest - Mrs Richards - who complains about some of the features of her room.

Mrs. Richards: And another thing. I booked a room with a view.

Basil: [Goes to the window] Yes, this is the view as I remember it, yes, yes, this is it.

Mrs. Richards: When I pay for a room with a view, I expect something more interesting than that.

Basil: That is Torquay madam.

Mrs. Richards: Well it's not good enough.

Basil: Well, may I ask what you expected to see out of a Torquay hotel bedroom window? Sydney Opera House, perhaps? The Hanging Gardens of Babylon? Herds of wildebeest sweeping majestically across the...?

Mrs. Richards: Don't be silly. I expect to be able to see the sea.

Basil: You can see the sea. It's over there between the land and the sky.

Mrs. Richards: I'd need a telescope to see that.

Perhaps the good people at Google Creative Labs had this in mind as they developed this splendid installation (not sure what to describe it as) as part of Sydney Opera House's 40th birthday celebrations last month.

The project, entitled Binoculars, entailed a special set of those vintage panoramic view binoculars (the ones that look like a face), installed on the footsteps of the Opera house.

Viewers who participated were then able to do what Mrs Richards was unable to in Torquay and view 40 other iconic locations around the world - including the Colorado River, the Palace of Versailles, and Shackleton's hut in Antarctica - using imagery from, and to demonstrate, Google Street View.



Thanks to CiarĂ¡n Norris, who kindly pointed me to this in recognition of my current infatuation with outdoor media enhanced with digital technologies.

The beauty being the ability deliver indiscriminate shared experiences for broad audiences without the baggage of tight targeting, faux-relevance and hyper-personalisation that the adtech world has misguidedly embraced.

The audience for this intervention is anyone with eyes and a sense of curiosity.

The future of digital advertising is out-door :). Here's the Fawlty Towers clip too.

Wednesday, December 11, 2013

when saturday comes

I was speaking for the Australian interactive media industry body, AIMIA, this week and last week.

The events were their annual 'Future of Digital' seminars in Sydney and also Melbourne.

I did my usual controversy, which seemed to go down reasonably well.

One of the other speakers was Laurie Patton, the Media and Entertainment Exec Director from Telstra.
We chatted before and after and he was a very nice and smart fella.

He nonchalantly dropped this anecdote in his talk but it struck me as being something of an insight that I had not considered before.

Amongst his duties at Telstra Laurie is working with a number of sports stadia in Australia to integrate digital technology into live sporting events, to enhance them in situ.

The remarkable point Laurie made was that stadia owners and operators are cognisant of the sports viewing experience at home becoming more of an 'experience' than attending in real-life.

In an unexpected flip (to these ears at least) viewing at home on TV with connected devices etc offering in running stats, multiple camera angles and replays (and close proximity to the fridge) is potentially more attractive than the schlep to the stadium and is therefore increasingly a challenge to both the stadia and sporting associations.

Good luck to Laurie and his people in solving this conundrum.

On the one hand it's further fuel to the 'TV is not dead and nor is it likely to be dead anytime soon' lobby and also my own pet thought that the media channel that stands to benefit more from the introduction of digital-ness is the humble out-of-home.

feel good hit of the summer? (or winter - choose your hemisphere)

A textbook case of how how to have a viral hit and maximising brand effect.

Using branding and market-based assets throughout (purple Santa and Elves was a nice touch) – tick

Evoking high arousal emotional response (i.e. reason to share) INSPIRATION, EXHILARATION, ASTONISHMENT – tick

Presented in the context of brand use and occasion - tick

Creative device? - 'personal triumph (sort of)' - tick

Probably backed with significant paid promotion and seeding upfront to maximise initial reach - (assumed) tick

Also worth noting: another example of doing something first - a situational or cultural intervention - then advertising what you have done.

Congratulations, WestJet.

Friday, December 06, 2013

a friday note on distribution and sharing a coke



This short World Cup 2014 film for Coca-Cola by Ogilvy in Shanghai has almost everything required to be be a viral hit, yet it isn't (yet).

Why should that be?

Here's some clues, from the appliance of science.

In Chapter 4 of 'Viral Marketing: The Science of Sharing' by Karen Nelson-Field from the Ehrenberg-Bass Institute (the chapter is entitled, 'Not all Fart jokes are Funny') Karen imparts the following.

In the course of her team's extensive research they find no correlations between sharing and the particular creative device used in a film, neither were there links between specific emotions and creative device, but there are relationships between the degree of emotional arousal felt and likelyhood of sharing activity.

They describe this as high arousal emotional response.

The one exception to the rule is when the creative device employed is 'personal triumph' - this shares significantly more even with low arousal emotions.

To get shared, the general lesson is to focus less on which creative device is applied and more on how arousing the creative is. So far so good for Coke and Ogilvy Shanghai, the film has all the ingredients

But that's not the whole story.

Karen and her team challenge the common belief that the key to spreading is in infecting a few adopters in order to reach millions over time.

This is the most available idea of how the diffusion of content occurs.

The evidence however says that this is the opposite of what actually happens.

Apart from a few cherry picked exceptions (the ones that appear in the social media case studies) the diffusion curve is, in fact, negative - after launch the degree of penetration for a video drops after a short period of time.

And, assuming it's compelling content, evokes high arousal emotional response, the single biggest other predictor of online video sharing is it's initial distribution.

According to Karen's research, for the best performing videos the ratio about 8 views to 1 share.

For others that perform reasonably well 24 to 1 is the average.

So to get mass sharing, initial seeding/paid support is key. Assuming the video is good and pulls the tricks above, then it needs to be put in front of as many people as possible in order to spread.

A few 'influencers' will not cut the mustard, most of the time.

One can only assume that little paid promotion has been put behind this terrific little film - a story of personal triumph - or else it would be a viral smash.

Likewise the many other Coca-Cola World Cup films in the series, from around the world, all of which are languishing with very few views and shares in YouTube.

Don't tell me Coca-Cola don't have a few bob to stick behind this great content.

Tuesday, November 26, 2013

make the logo bigger, eaon

I got hammered by some commenters on Mumbrella for suggesting that the John Lewis Christmas ad, while a stunning piece of content, creativity and all that, is best viewed as an exception rather than a rule in terms of the amount of branding available in the film.

I noted that for most brands - and the challenge of mental availability - it is advisable to introduce distinctive brand assets into their content quicker and more frequently than the John Lewis example.

I stand by my remarks, and offer this by way of an example.

Is this piece of RedBull media any less exciting because of the presence of branding?



Monday, November 25, 2013

excuse me while I kiss the sky

The Asch conformity experiments were a series of laboratory experiments by psychologist Solomon Asch in the 1950s.

The various experiments demonstrated the degree to which an individual's own opinions and behaviours can be influenced by those of a majority group

The Asch experiments informed the idea about social proof that we often use in advertising.

8 out of 10 cats and suchlike.

Essentially people will often do things that they see other people are doing.Especially similar others.

One experiment, easily replicable and with predictable results is the one in which one or more direct agents in a public space would point up into the sky, as though there is something to see.

Bystanders, or passive spectators if you prefer - will predictably stop to look up into the sky to see what the other are looking at.

My hunch is that some of this background was influential in the creation of this fantastic bit of digital outdoor created by Ogilvy for British Airways.

Who among us has not gazed up to the heavens at a climbing plane and not thought 'I wonder where that one is off to?'.

And then thought 'Wherever it's going, I wish I was on it'.

The lesson? It's easy to lose sight - amid all the huffing and puffing about what advertising does or does not do - of the simple fact that the fundamental, number one task advertising has to perform is to get noticed in the first place.

Gold Lion in Outdoor.



Friday, November 22, 2013

Fridays Angels: links of the week 22|11|13

The latest attempt at a recurring feature in this journal.

Friday's Angels will hopefully be one post every Friday with a handful of links of interest from around the web this week.

This week here's three favourites.

Squat the…?
As an entertaining and rewarding nudge to promote exercise (in the context of the 2014 Winter Olympics in Sochi, Russia) OlympicChanges installed a very special ticket machine at a Moscow subway station.
Instead of accepting money as payment, the ticket machine only accepted exercise.
Riders receive a free ticket by standing in front of the machine’s camera, and performing 30 squats or lunges.



next

Sharing fast and slow?
The psychological connection between how we think and how we spread news on social media.
What drives sharing? It’s a mix of attention, emotion, and reaction. Here’s hard data on which news stories took off and which didn’t on social.
Obviously 'Fast and Slow' is a riff on Daniel Kahneman's thinking, and most of the points in this article refer directly to some of those key concepts.

read Sharing Fast and Slow


finally

How to protect yourself from 'prediction addiction'.
I always say 'never make predictions'.
Particularly about the future.
We can't stop second–guessing what's coming next. Our need to gaze into the entrails of the markets – what Jason Zweig, the behavioural finance expert, calls our "prediction addiction" – is hard-wired into our brains.
But the one really predictable thing about our forecasts is that most of them will turn out to be wrong.

read Prediction Addiction



Thursday, November 21, 2013

dog's dinner

Richard Rumelt's Good Strategy/Bad Strategy is just so full of sense and nuggets that it would be easy to just quote the whole book.

Such is it's dip-in-and-out-ability, it's handy to have at one's side to be referenced on almost any occasion.

This passage seemed to resonate this week as a kind of slice of agency life...

'One form of bad strategic objectives occurs when there is a scrambled mess of things to accomplish—a “dog’s dinner” of strategic objectives.

A long list of “things to do,” often mislabeled as “strategies” or “objectives,” is not a strategy.

It is just a list of things to do.

Such lists usually grow out of planning meetings in which a wide variety of stakeholders make suggestions as to things they would like to see done.

Rather than focus on a few important items, the group sweeps the whole day’s collection into the “strategic plan.”

Then, in recognition that it is a dog’s dinner, the label “long-term” is added so that none of them need be done today.'


Tuesday, November 19, 2013

a note on salience and the purpose of branding

As much for myself as for anyone reading this, it's worth - from time to time - to have a quick refresh on the fundamental purpose of branding.

The purpose of branding is to identify the source of any given product or service, and to help us, buyers, make quicker decisions that require less processing/ thought

This is why branding was invented.

This requires the use of things and characteristics that distinguish one brand from other competitors.

First and foremost is, obviously, the brand name itself.
Along with with other distinctive elements of a brand identity.

Coke has the colour red, and the bottle shape, for example.
And taglines - 'Just Do It', 'Think Different' etc.

All of these things help buyers to notice, recognise and remember the brand, in buying situations, and are the most important parts of advertising.

A great creative idea is a great commercial creative idea when it acts as the vehicle to get the brand noticed and remembered.

The more distinctive and salient these ideas are then the more links are made in memory, therefore the easier it is for the brand to be identified and remembered at the right time.

One of the ideas from psychology literature that it's important to recognise and apply in these situations is the idea of the 'availability' heuristic.

Whereby we tend to estimate the likelyhood of events by how easy it is to think of similar examples.

For instance one is statistically far more likely to be killed by a refrigerator falling on top of you than in any act of terrorism, but because examples of terrorism attacks come most easily to mind we fear those more.

In the advertising industry bubble one has no problem in identifying the latest John Lewis Christmas ad, in part, simply because of the availability of the discussion, within the bubble, around the ad this week.

It would be an error, however, to assume that anything approaching the same amount of discussion and dissection has happened in the lives of ordinary people.

However, for John Lewis, to get noticed and remembered by a mass of people in a buying situation would be the ultimate result, and with a huge PR and integrated push around this 'ad-as-event' it looks to have succeeded.

But it is interesting to watch the video below, and notice how little 'branding' ordinary people take away from the ad on first look, and how many other brands they speculate could be the providers of the content before it is finally revealed.

Also recognise how easily this could have been fixed by inserting distinctive branding throughout the spot.

Therein lies the lesson for the rest of us.



That's not to say it's not a great piece of creativity, and without doubt evokes an emotional response, but as commercial creativity it's an exception rather than the rule.

For most brands, even the greatest creativity cannot act as a substitute for establishing the brand name, the source of the product or service, if it doesn't prime the viewer to remember the brand name it fails.

Waiting until 1:57 to reveal is a risk for all but the most compelling content.

I'm being slightly harsh, John Lewis are big enough, popular enough, famous enough - and the JL Christmas ad is an 'event' anticipated by the public - to get a pass (ha!) this time, but we should be mindful not to take this example as case in point or applicable to the majority of our clients.

thanks to Martin Weigel who tweeted the vid.

Wednesday, November 13, 2013

because I'm in love with rock'n'roll double jeapordy

The marketing phenomenon that is perhaps the hardest one for many marketers to stomach, the duplication of purchase law, can be described for us nicely and pop-punk-ily in Ready Steady Go by Generation X.

I was in love with The Beatles (ooooohh!)
I was in love with The Stones (no satisfaction!)
I was in love with Bobby Dylan
Because I'm in love with rock'n'roll



Very, very few people are 100% loyal to any single brand.

People who bought the Beatles also bought the Stones and bought Dylan.

A brand only gets big by attracting less committed buyers (although they may be heavy buyers of the category) to buy a bit more often.

Exclusive brand loyalty is largely a myth, and focussing effort on cultivating it is commercially unwise.

People who bought Generation X also bought the Pistols, the Clash and the Jam.

Unfortunately, in the UK, the Pistols and the Jam attracted more light buyers than Gen X did.
Presumably that's why Billy eventually bailed out and relaunched himself in a bigger market (the USA) with a bigger label and more reach and went on to be one of the biggest pop acts of the 80's.

And Tony launched Sigue Sigue Sputnik as a mass media spectacle, creating huge mental availability before any physical product was available to buy, which subsequently led to massive rapid growth.

Indeed Gen X probably suffered under the law of 'Double Jeopardy'.

The Jam, for example, were rewarded twice: they not only had more buyers, but these buyers also boughty more often (thus with greater loyalty). Whereas a smaller brand like Gen X were sadly punished twice: they had fewer buyers who bought less often.

Yes, it's true that bigger brands do receive slightly more loyalty than smaller brands.
But the big difference is not about how loyal their customers are, but simply that they have so many more of them.

The Clash would have been much bigger than they were if they had gone on Top of The Pops and reached a larger audience beyond simply the hardcore of Clash fans. In walked U2 a couple of years later and stole their chops and thunder.

Indeed the rejection of Top of The Pops by the Clash could be interpreted as something of a 'sunk cost fallacy', there is something of a dissonance at play as their decision to tour as support for the Who (mass audience, light buyers, Shea Stadium etc) helped them the huge selling Combat Rock album in '82, just before the band imploded.

To a large degree success begets success. It's driven by the ability to scale.

Moreover, brands share their customers with other brands in the category and usually in line with their market share.
It's no surprise that Billy was in love with the Beatles, the Sones and Dylan. The three biggest and most popular rock'n'roll acts of the 60's.

So while people do have loyalties to a degree, they are promiscuous.
People are pretty happy to buy from a number of brands in a category.

It doesn't mean they like you less, but it's a mistake to expect devotion from anything but a very few.

Sure, the few need to be looked after but if you have the chance, ask the world to dance.

Or you'll be dancing with yourself.

Tuesday, November 12, 2013

making the brand easy to buy

Creatives will hate this, and it won't trouble any award shows but I'd put money on it being super effective advertising.

To paraphrase Prof Byron…

'What works in branding is surprisingly simple – making the brand easy to buy by maximising it’s physical and mental availability'.

Combine Old Spice guy and prominent Coles branding (two memorable sets of distinctive brand assets = mental availability) And I can buy it in Coles (physical availability).

Thursday, November 07, 2013

right on target so direct, you're gonna make me lonesome when you go.

Ever wondered how some of the ads in the music/fashion/motor/gossip etc magazines you read on your way to work, the same ads every reader of the magazine sees, seemed strangely more relevant than the highly targeted data-driven ads you are subjected to on something like Facebook when you fire up your computer?

How can this be, when nature of brand advertising is not personal?
It knows nothing about you, yet this fact is one of the reasons why it works so well (when it's done well).

From Bob's 'Tangled up in Blue'.

'Then she opened up a book of poems and handed it to me,
Written by an Italian poet from the thirteenth century,
And every one of them words rang true and glowed like burning coal,
Pouring off of every page like it was written in my soul from me to you,
Tangled up in blue..'


Whether Bob is experiencing a moment of clarity or simply subjective validation is unimportant.

General human truths connect, they appear to be highly personal and relevant because something is true if a one's belief demands it to be true.

But hang on, my highly targeted social media campaign delivered incredible response rates?

It’s hugely tempting to get excited about response rates but it’s important to note that response rates are, in fact, not a very good indicator of effectiveness.

For a start, your followers on Facebook and Twitter are, for the most part, already your customers, and they are a tiny section of your customer base, among your heaviest and most loyal buyers.

So therefore an 40% response from targeting 10,000 people Facebook is less in terms of total responses than a 10% response from targeting 100,000 people anywhere else.

Plus the fact that the response rate is so high is skewed as these buyers would probably have bought anyway, at some point.

It’s the equivalent of handing out coupons inside your store.

That's not to say that gathering a group of enthusiasts has no value.
But these customers should be viewed as an asset not an audience.
An asset that requires putting to work to share, amplify and reach new people.

Here’s the thing about targeting and relevance. These are not the same thing.

And even in a direct marketing sense, precision targeting can actually be counter to effectiveness.

Highly targeted campaigns are fashionable with short-termist marketers because they typically deliver high arse-covering ROI in the short term, but don’t deliver growth in the long term (and in some cases can be counter to growth – as even the most loyal of customers tend to become less loyal over time, ergo targeting these customers at the expense of acquisition can make the brand smaller) but that’s for the next marketing director to worry about.

The objective must be to reach as many buyers in the category as possible – most importantly the buyers of competing brands – because growth and profit comes from here, not from existing customers.

Because the purpose of brand advertising is not to persuade or coerce individuals but is to create brand salience - the propensity of the brand to be noticed or come to mind in buying situations by more people.

So the great thing about brand advertising is exactly that it is unable to deliver precision targeting and lacks quantifiable ROI.

If the old adage 50% percent of advertising is wasted, but we don’t know which 50% is true, then perhaps we could say the 50% that’s wasted is the 50% that actually works.



f-like

Perhaps the Facebook like button redesign may result in what might be described as 'off-strategy' consumption in some parts of the world.

Readers familiar with the Doric dialect from my native north-east of Scotland will know that the greeting 'fit like?' is how the natives address each other. Often preceded with something like 'aye aye min'.

Loosely translated into English this phrase means 'how are you?'.

In common conversation the 'fit' is often shortened to 'f' and the greeting therefore becomes 'f'like'.

So I'll now be using the F-Like button as a simple greeting, and not necessarily an endorsement.

Social media experts please now factor this in to your important deep engagement/conversation metrics.