Archive for the ‘Sales’ Category

Twitter Girls Un-Game

Sunday, July 31st, 2011

@davidgadarian called out the pattern on his Twitter feed this morning:  “#pleasestop I seem to be attracting a run of new followers who are young attractive and who have no profile descriptions…”  Me too.TwitterGirls1

A pattern defines a game. And while this game is more sophisticated than flat-out spamming, and probably gets a higher click-though because of it, it’s worse in a way, because it wastes the time it takes to actually see that it’s spam. I saw the same kinds of ‘Follows’ Gardarian no doubt did. The fictional females in question had reasonably believable names. They were following more than a thousand people, so it wasn’t one of the totally ‘empty’ profiles that often characterize Twitter spams. But when Yolande and Aura both have the same profile photo, you know the ‘un-game’ is on.TwitterGirls2

The tweets from these fictions had a kind of personality to them, touchpoints to popular culture.TwitterGirls6

A quick look reveals the commercial objective of selling new technology. Not that there’s anything wrong with selling technology, but to do it using fictions like these only calls the authenticity of the merchandise itself into question. Can I count on the reliability of a product when I’ve been tricked into it by a bot? Spam by any other name is still spamming. TwitterGirls4

I’d dig deeper into this to find out what agency is behind this faux cleverness, but I’ve already spent enough of my time and intelligence on it, and can only echo David Gadarian. #pleasestop! Brands who play inauthentic games like these are wasting time–their possible customers’ and their own. Deceitful narratives always come with a cost, and the biggest problem is that the deceivers have no way of knowing or controlling what that cost is going to be.

Cloud Noise

Wednesday, May 18th, 2011

Toby Daniels (@tobyd), co-founder of Social Media Week, passed along this video this morning. It’s hilarious, and as the title of Charna Halpern and Kim Howard Johnson’s famous book goes, there’s a lot of Truth in Comedy.

StartUpGuys1

Here’s the Truth in this scene: With the coming of the cloud, there’s going to be so much new information coming online all the time that the invitation is to stay comfortably lost in it all, rambling on about our own stuff without really listening. Ever. We’re full of it. Just like these guys. Truth.

So what are we listening for?  For the game we can play together. From a productive game will come a narrative that makes sense of it all. But only after the the game has been played.

Later, when people ask, we can look back and say, “That was our strategy.”

Meanwhile, I sort of agree with the caption on the video: ‘The best strategy is one you don’t understand.’ Funny. True.

C-Suite to Street

Sunday, October 31st, 2010

With each passing week, we hear more about the application of improvisation to business.  American companies, from core to edge, from the C-suite to the street, are becoming more conscious of the need to be agile in a networked business environment, and that means learning how to improvise better.   These companies (excluding the already-agile Silicon Valley/tech and financial sectors) are coming to the realization that in a networked world, it is impossible to script for every scenario we encounter.  There’s too much too much choice, change and transacting in the marketplace.  In this environment, improvisation is the most fundamental business skill there is.  At GameChangers™, we call it a system for producing positive outcomes from unforeseen circumstances.

The anecdotal evidence–what we’re seeing and experiencing over the past three months:

- A study in the magazine Science co-authored by MIT scientists cites a 30-40% improvement in performance in groups that apply collective intelligence to problem-solving.  This is another perfectly legit definition for what improvisation is:  The conscious application of collective intelligence to the solving of problems.

- A major airline hires GameChangers™ to improve its customer relations for its sales staff.  In 3 months, offices that institute the GameChangers™system show a 90% reduction in customer complaints.

- Oakley yes-ands the 33 Trapped Chilean Miners by giving them all a pair of their grooviest sunglasses to wear when they exit the mine, demonstrating that improvised branding has a huge ROI advantage over traditional media models.

- Legendary improvisation-trained actor Alan Alda establishes a program with science writer KC Cole to teach scientists how to communicate better using improvisation.  Alda’s  program is co-located at the Brookhaven National Laboratory, USC’s Annenberg School of Journalism, and Stony Brook U. in New York.  I’m honored to continue the program in a workshop exploring biomimicry (in which we riff on exercises taught to me by the brilliant Belina Raffy in the U.K.) as part of Social Media Week in L.A..

- The ‘Old Spice Man’ viral video campaign, partly designed by a social media manager who attended several GameChangers® workshops and a copywriter who plays jazz trumpet, boosts Old Spice sales by 1200% in three months.  This suggests that brands must begin to measure ROI not by platform, but by narrative.

- The Applied Improvisation Network holds its annual meeting in Amsterdam in September.  Success stories abound!

- Renowned London-based organizational expert, Peter Robertson, is adapting  the AEM-cubeanalysis tool created by his group, Human Insight Ltd., to include metrics for how well large organizations, and their employees individually, improvise.

- We hear that two divisions of a large global consulting firm, unbeknownst to one another, hire improvisers to conduct workshops for their managers in two different U.S. cities.  The company’s training staff, hearing of this, requests a proposal from one of its vendors for a company-wide program for more than 12,000 employees that is based on improvisation.

- The Spirit of Football®, an improvised narrative that explores the theme, “One Ball, One World,” has already signed its first two sponsors for the 2014 World Cup in Brazil, putting them exactly three years ahead of the pace they were on for this year’s World Cup.

- A Harvard Business Review article on Pixar University and its director, Randy Nelson, cites ‘plussing,’ which is an old term Walt Disney used, as an essential part of its culture.  Plussing is another word for  ‘yes-and,’ a basic concept of improvisation.

This is just a partial tip of one iceberg, the one we see from our little boat at GameChangers™.  There are a lot more icebergs in the ocean than what we can see, and let’s be honest, there are a lot more icebergs in the ocean than there have ever been before.

Consequently, there has never been a better time, no matter what profession you’re in, to be an improviser.  Play on!IcebergField1

Created in America

Monday, August 9th, 2010

In noting President Obama’s rallying cry for a program to support small businesses in America, the White House published the following in the President’s Facebook news feed:

A minority in the Senate is standing in the way of giving our small-businesspeople an up-or-down vote on the jobs bill. That’s a shame. We need to decide whether we’re willing to rise above the election-time games and come together—not just to pass a jobs bill that is going to help small businesses hire and grow but al…so to rebuild our economy around three simple words: “Made in America.”

While we wholeheartedly support a jobs bill that will help small businesses like ours, ‘Made in America’ is an Industrial Age idea that has very little resonance in the Networked World.  Nothing substantial can be built around anything as meaningless as that statement.  Here’s why…MickeyMouse&Abro1

The problem is that making stuff is not what America does any more, not exclusively to ‘Brand America’ anyway.  Stuff gets made all over the world.  What’s the most ‘American’ brand you can think of.  Disney?  Coca Cola?  Nike?  ‘Made All Over the World’ is the truth of these brands, and the same is true for any other brand vibrating on a network frequency.  The Budweiser Clydesdales are Belgians now.  Deal with it.  In light of these new truths, ‘Made In America’ becomes just another piece of empty political rhetoric, designed to dampen disagreement rather than to foster any large-scale agreement around a new economic narrative.

What we need is an idea that will generate new narratives, and new ideas about how to stimulate the economy.

One of our favorite American companies, ABRO Industries, based smack dab in the heartland of America, South Bend, Indiana, with 25 employees and projected 2010 sales exceeding  $150M, does over $40M of sales a year in Nigeria alone with products it manufactures in South America.  Most of ABRO’s products are made outside America, and yet most of the wealth it generates comes back to this country.  How?  It originates the business cycle and the brand.  It creates networks to market its products around the world.

“Made in” is no longer an differentiator for American business.  ‘Created in’ still is.

What makes American business unique, what we can count on every time, is Creativity.  The true American brew isn’t Budweiser,  it’s the idiosyncratic brew of cultures and personal histories that make the American narrative unique in the world.

What matters about Disney is not where it’s made.  After all, its primary product, happiness, can be conjured up anywhere in the world.  What’s unique and irreplaceable about the Disney brand is that it was created in America, born out of the imagination of a Scotch-Irish Socialist-Farming Depression-Era Cartoon-Making Hollywood-Bound Space-Racing Commie-Fearing Polo-Playing Chain-Smoking Family-Loving Chili-Eating Anti-Semitic Dandy From Kansas City Who Dreamed He Was a Mouse.

Making stuff means replicating it, and that means commoditizing.  Anybody can do that.  Originating stuff–growing Walt Disneys and Apples and Pixars and Lady Gagas and ABROS–that’s what America still does best.

Old Spice Gamechange

Tuesday, July 20th, 2010

OldSpiceMan1When he was working at Twelve Horses Interactive (now part of One to One Interactive) in Reno in 2007-08, Dean McBeth (@evilspinmeister) participated in some of the very first GameChangers workshops.

Dean has since joined the Wieden+Kennedy Agency in Portland, where he’s a Sr. Community Manager and digital strategist for the Old Spice brand, and one of the principal architects of the currently-raging ‘Old Spice Guy‘ social media campaign.  When Dean and I chat, as we did, by phone, this morning, the subject of improvisation in business is never far away.  It’s always gratifying to hear how the learning Dean took away from GameChangers has blossomed into marketplace performance for him and his clients, never more so than with the Old Spice online campaign.

I ask him about the genesis of the campaign.

“We already had a ‘pop media darling’ (in Old Spice Guy, played by actor Isaiah Mustafa), and we wanted to amplify the existing asset of the television commercials.  Our global interactive Creative Director, Ian Tait, said, ‘Why don’t we have Old Spice Guy reply to comments on YouTube?’  That was the idea that got us going,” McBeth says  “In terms of digital media, we didn’t want to limit ourselves to YouTube.  The question became, ‘How do we expand to every major community on the web?’”

Dean and his counterpart in W+K’s New York office, Josh Millrod, designed a strategy that involved charting all recent online comments about Old Spice, identifying anyone who mentioned Old Spice in a positive way, and ranking these people in terms of their influence.  The most influential people on the list were combined with ‘regular folks’ who, by comparison, may not have had a ton of Twitter followers or Facebook friends, but whose comments the W+K creative team found humorous or inspiring in some way.

This Influencer List, which eventually totaled “between 30 and 40 people,” according to McBeth, was combined with traditional PR channels, to create a core audience for the first wave of Old Spice Guy videos.

Then, in one shooting day, the W+K team shot personalized videos for everyone on the Influencer List, with each video written and directed as a response to the Influencers’ previous comments about Old Spice. ”We wanted to be talking to people who already had an affinity for the product,”  says McBeth.  “The messages were geared to how they’d commented.  We wanted to give them the biggest yes-and we possibly could.”

The W+K team was disciplined about addressing Old Spice Guy videos only to influencers who were already ‘having the conversation’ and avoiding those who weren’t.  “We knew that nothing could kill the campaign faster than sending a personalized video to someone like a Howard Stern who maybe hadn’t said anything previously about Old Spice.  We could’ve crashed in a hurry,” says McBeth.

At the same time, the W+K team kept an eye on influencers like Stern and Ashton Kutcher, who command big online audiences, and when these high profile players commented on the first wave of Old Spice Guy videos, they became candidates for response videos of their own that were produced in a second wave, also shot in a day.  Kutcher eventually got a video addressed to him, and it’s how Alyssa Milano got to be a player in the Old Spice game.

McBeth calls the videos “strategic smart bombs,” and describes them as “gifts” to their recipients.  Interactions with an already-existing narrative about the Old Spice brand.

Shooting 30 to 40 videos in a single day is about 30 to 40 times the typical output for a top-tier agency like Wieden+Kennedy.  The Old Spice team had to be incredibly nimble.  Scripts had to be written, approved by the client and performed as first drafts. A table full of props on the shooting set gave Mustafa and the creative team opportunities to keep the actor’s performances playful and personal.

McBeth2Wieden+Kennedy’s client for the Old Spice brand, Procter & Gamble, “couldn’t be more pleased,” according to McBeth.  “They see it as a new paradigm for brand marketing.  We should be seeing numbers soon that will show tremendous results for both awareness and sales.”  With the success of the Old Spice Guy campaign, Wieden+Kennedy’s other clients are, naturally, clamoring for viral brand mojo of their own.  One thing is certain, the ability to improvise will be key.

McBeth did not learn until after the campaign had been produced that Millrod, his co-creator in W+K’s New York office, has a hobby.  Improvisational jazz trumpet.   If there had been any question before, this new bit of information finalized the answer for McBeth:

“Improvisation is the single most important factor in the success of the Old Spice Guy campaign.”

The Customer’s Dual Roles

Wednesday, July 7th, 2010

SunMoon1It’s easy enough to see that in a selling scene, a Customer is your Audience.  You, in your role as Seller (and make no mistake about it, everyone in this world sells something) need the customer/audience to support you at the boxoffice, the gift shop, the showroom, the supermarket, the website, or anywhere else you can translate their ‘applause’ into revenue.  This has been true since studly village smithies were putting on a good show by hammering out horseshoes under the spreading chestnut tree.  A good performance gets rewarded by the audience. Selling doesn’t get any simpler than this.

It does, however, get a lot more complex, and in a hurry.  Here’s why:

In selling scenes, the customer plays two roles:  Audience and Scene Partner.  You, as a seller, co-create your selling scene with your customer as your scene partner.   He or she will then, stepping into the role of your audience, pass judgment on your performance.  Thumbs up or thumbs down?  Worth the price of admission or not?  Good collaboration or rocky relationship?  Will you generate positive word of mouth or negative reviews?  Your earnings depend on how your performance is received.

There’s no script for these scenes–at least not one your customer is going to be memorizing and reciting verbatim anytime soon.  You’re going to be improvising.  And this is a fact:  The best salespeople are the best improvisers.

Here are some ways in which good salespeople collaborate with customers on scenes that get a thumbs-up from those same customers:

They keep their scenes lively. They keep the dialogue moving along at a productive tempo.  They yes-and promptly.  They heighten by upping the tempo, the emotional pitch, or both.  They add useful information.  They perform with the awareness that a ‘dead spot’ in the scene now will be judged harshly by the customer-as-audience later.

They make their customer the hero of the scene. An improvisational salesperson is a Sherpa to the customer with some kind of allegorical mountain to climb.  The sales Sherpa has useful knowledge.  Charts a practical course to the summit.   Reads the weather.  Calculates the odds.  Comes well-equipped.  The sales Sherpa gives the gift of support, and in doing so, makes the customer look good.  The role of the sales Sherpa is not the same as playing a second-banana, a sidekick, a best friend, a wing man, a femme fatale or a fall guy.  These are Hollywood movie roles.   The sales Sherpa is exactly what the name defines: a Sherpa.  It’s a Himalayan thing.

They listen. Wow, do improvisers listen.  They hear things the casual listener doesn’t.  They remember the nuances, and use the throw-aways.  They know that the most important conversation of the day may happen on an elevator ride between the first and sixth floors before a sales presentation begins.  They listen with more than their ears.  They observe with all the senses.   And then, maybe then…they speak.   They understand that being silent and being mute are two completely different things, and that sometimes one sees more with one’s eyes closed than with them open.

They respect environment. In selling scenes, you, the seller, are usually a visiting performer in someone else’s theater.  In many ways, the ‘theater’ of a customer’s company is like any other theater.  Theaters have traditions and history that must be respected.  They are influenced by politics and patronage and star players with competing agendas.  They are invariably facing some kind of financial threat.  They are only as good as their last hit, and they have ridiculously high hopes for the next project.  They can be half-looney with romantic intrigue.  The improvisational salesperson sees and respects the arena in which the customer operates.  When performing at the Apollo, touch the Tree of Hope.  When visiting Ireland, kiss the Blarney Stone.

They build relationships. Relationships are the basis of all improvisation.  The relationships between players, between players and environment, and between players and audience, are all intertwined.  The best way to move toward a sale, to generate positive outcomes regardless of the circumstances, is to build and nurture these relationships.   Relationships will see you through the kinds of adversity, and capitalize on the opportunities, that no scripted sales program can predict or anticipate.

In selling scenes, the networked customer is a more potent player than ever.  He or she often knows as much about your product as you do.  Relationships with customers are frequently more sensitive, more fluid and more demanding than they were in the Industrial Age.  Customers use social media to converse frequently amongst themselves in scenes to which you, the seller, are not invited.  You can no longer impose your narrative on the customer, you’ve got to earn an invitation to participate in the customer’s narrative.

So be a Sherpa.  Know the mountain, and your customer will see that the climb is impossible without you.

Apparatus and Apparition

Thursday, June 24th, 2010

Observing the interwebs abuzz today about the long (up to an 11-hour wait in L.A.!) iPhone lines, and the lines already forming (three days ahead of the first screening!) for the next Twilight sequel, I am reminded of this scenario:

Piaggio1A friend of ours who works in sales gets honored often as a leading performer at his company, a large and established organization which is one of the 87 current members of the S&P 500 that have been members since its inception in 1957. The honoring happens at lavish banquets attended by the company’s top managers and featuring a pricey speaker.

Understand that our friend is a madman, who rides his three-wheeled Piaggio motorcycle with the governor of the state where he lives, has 28 tattoos— including one on his (hairy) chest of a man pushing a lawnmower, next to which he shaves a smooth swatch as if the tattooed lawnmower has mowed his chest; and as a hobby he spent a couple of years performing standup comedy as a Catholic priest (he’s Jewish).  None of the tattoos is visible outside our friend’s business suit. Nobody at his company knows he does stand-up under a stage name while wearing a Roman collar.   He plays the company game, but it is far from the only game he plays.

Our friend told us that the speaker at a recent banquet where he was honored as his division’s Salesperson of the Year gave a speech about ‘Finishing First.’ About how nothing else would do. About how a person has a choice between finishing first and being a loser. How in sales, there is no prize for second place, first place is the only place that matters. You either make the sale or you don’t.

Our friend approached the speaker after his speech and struck up a conversation that went like this.

FRIEND: Nice speech.
SPEAKER: Thank you.
FRIEND: What’d you get for it? Forty thousand dollars?  Am I close?
SPEAKER: Uh..that’s in the ballpark.
FRIEND: You know, our first choice for a speaker was Colin Powell, but he wanted two-hundred thousand dollars and we couldn’t afford it.  So it looks like finishing second worked out pretty well for you, didn’t it?

“When I saw the look on his face I felt bad for saying it,” says our friend. “But I couldn’t resist.  It was such an obviously lame premise.  There are all kinds of situations where finishing first has nothing to do with your success.”

So you’re waiting in line for the iPhone or the Twilight.  Cool.  It’s a happening.  A social event.  Remember, though, that meaningful transactions happen in the line, with other people, not at the end of it, with an apparatus or an apparition.

Enjoy the ride and you won’t ever have to worry about whether you’ll be the first to arrive.

When Buyers Improvise, So Must You

Thursday, April 29th, 2010

DailyFix1The headline of a post by Adam Needles in the Daily Fix caught my eye.  It began

Understanding How and Why B2B ‘Buyers Are Liars’ …

Every good story has conflict, and the accusation in the headline implied this element in Needles’ post.  The quotation marks round the accusation suggested that Needles would be offering context.  And besides that, who can resist a good rhyme?  I dove in, and I’m glad I did.  Quotes from the post:

“…buyers regularly enter data that is not wholly accurate because it serves their purposes at that moment in time.”

“…it’s something they do both intentionally and unintentionally to better manage the dynamics of their interactions with vendors.”

“…more than ever buyers often don’t really have accurate, explicit answers to BANT (Budget, Authority, Needs, Timing) questions, so we have to figure out when/where they’re moving forward on an implicit basis.”

“…the B2B buying process is less formalized than ever before.  “More than 8 in 10 respondents said the buying process did not follow a traditional path…”

“B2B buyer organizations are becoming more agile and making more decisions on a non-planned basis.”

“Don’t expect to learn everything about a prospective buyer through online or automated interactions.”

It turns out that what Needles has to say, headline aside, is NOT that buyers are liars, it is this:  The dynamic between buyers and sellers is changing. It doesn’t matter whether it’s B2B or B2C, the changing dynamic is the same.  Sellers cannot take for granted that the selling process will follow predictable narratives.  Every selling scenario has the potential for uniqueness. Unless you’re willing to address and support this potential, you’re going to get stuck somewhere in the funnel.

Here is the fundamental shift, as described by our friend John Callahan of GE’s Intelligent Platforms division:  “What happens when there’s that much money at stake – one of our systems might cost a couple hundred million dollars – the customer knows your product as well as you do. There’s nothing you can tell them about what you’re selling that they don’t already know. So the question becomes ‘What do you talk about?’ Well, you talk about the relationship between your company and theirs, and between the people involved in making the system work.”

Callahan sums it up perfectly.  The old dynamic between a Seller who holds all the cards and a Buyer who has to show his or her own cards to get in the game has changed.  Reversed, in fact.  So learn your selling script, then toss it aside.  Implement your automated queries, but don’t use them as a crutch.  They won’t get you to your destination.

“You cannot stick to a script,” says Callahan.  “In a long sales cycle, if you try to stick to the script, you’ll run out of things to say. You have to improvise by working with what your customers give you in the way of information about themselves.”

You work with what your scene partners give you in the way of information about themselves. That is the essence of improvisation.

Digg the Toyota Scene

Thursday, April 8th, 2010

When Toyota hit the icy patch in their narrative this January, they did not do what most organizations their size would do, they didn’t do what the Tiger Woods brand did when the Escalade hit the fire hydrant:  huddle, confer, strategize, ponder, debate, script, re-write, close ranks, assume a defensive posture, call in damage control experts, and use all of it as an excuse for Not Doing Anything.

No, they improvised.  And by that, I don’t mean they flew by the seat of their pants, or made it up as they went along.  From the CEO on down, they jumped into the conversation with the audience and performed aggressively to build a narrative that countered the media hysteria around the recall and the ambulance-chasing members of the legal profession who fanned its flames.ToyotaLogos1

This is what improvisation is.  A conversation designed to connect the performers with their community.  Not a monologue, a strategy, a script or a campaign.  A dialogue. Observations and comments.  Listening and responding.  Action and reaction.

AdWeek this week highlights one component of Toyota’s conversation with the audience:  a Digg Dialogg with Toyota’s head of U.S. Sales, Jim Lentz.  One of the more telling beats in the article is how skeptical J.D. Power & Associates, the traditional arbiter of performance and quality in the automotive industry is about this tactic.  They don’t see ‘movement’ in their polls, they say.  The jury is still out, they say.  What the J.D. Power people fail to grasp is that the conversation itself is the movement.  The fact that it happened, along with untold other interactions between the brand and audience, constitute a flow of events that defy any one snapshot’s (i.e. poll’s) ability to capture its effectiveness.  Trying to measure one data point in a narrative with a million data points is foolish.  J. D. Powers is trying to apply old school metrics to a new school process.  It’s like taking a poll about how people feel about Rings and using it to gauge the audience’s perception of Lord of the Rings.

No doubt there’s a major problem with Toyota’s process, the company has admitted as much.  Its quantity got ahead of its quality.  It began thinking of its audience as consumers instead of customers.  It’s a big, big, issue, with immense implications for the brand.  What’s impressive is that they didn’t let the immensity overwhelm them.  They didn’t look for an epic solution to the epic problem.  Rather, they began a journey of epic proportions., and they are conducting it one conversation, one scene, at a time.  They are contrite, but they are not backpedaling, or wasting time deliberating.  That would cause the narrative to lose its momentum.  They didn’t script a narrative and then try to force it on the audience.  They improvised, with the conviction that their journey will eventually re-connect them with their community, and win back its confidence and its applause for their performance.

The Consumer is Dead, Long Live the Customer

Friday, April 2nd, 2010

This is an important distinction for brands to make:

No more Consumers.

Customers.

Every time you refer to your ‘paying audience’ as Consumers, subtract one point from your brand’s Adaptability Index (AI). Every time you refer to them as Customers, add one point.

Here’s why:

Consuming stuff is so last century. The piggery and gluttony that came with relating material goods and conspicuous services to one’s status is totally unsustainable. It is a zero sum game.

Customizing stuff (and oneself), on the other hand, the honoring of customs and customers, is the engine that drives the sustainable economy. It is a generative process designed to conserve and make more efficient use of increasingly scarce resources.

Consumers consume. Customers customize. That’s it in a nutshell.

Here are some of the implications:

Nathans1Brands who emphasize consumption contribute to obesity, both mental and physical. They represent an ever-larger drain on the planet’s resources. They introduce a lot of useless crap onto the world by manufacturing illusory needs. They associate levels of consumption with status. The biggest of this. The most of that. The hardest. The shiniest.  The latest and greatest. These brands pay for the audience’s attention. Most significantly, they define the relationship between the brand and the audience using numbers.

I, Consumer, am a number of numbers. This is my number of average waking hours per day. A percentage of those waking hours belongs to you, a brand. During the percentage that belongs to you, I consume a percentage of the yearly sales of your product in my demographic. You spend a number to hold my attention. If that number stays below a certain acquisition price relative to the yearly value of the percentage of my day that I devote to you, you will keep spending it. If it gets too high, you will let my attention drift elsewhere. A computer program will tell you what to and then cover your tracks so that you’ll be blameless.  No one will be able to lay a hot dog on you.

Brands who customize largely participate in customs that already exist, customs into which they’ve been invited by a customer.  (The attempt to manufacture a custom is costly, with very low ROI.)  The relationship between a brand and a customer is a conversation, a dialogue. These brands serve causes that cannot be defined by numbers (even as numerical values for what they contribute and receive as a result of their participation, can and must be assigned and evaluated continuously). Brands with customers understand that consumption of the brand’s product or service represents part of, but not the entirety of, their value to the customer.  Consumption is one an element of a narrative that has many elements, most of which are outside the brand’s control. These brands prefer earning attention from their audience to paying for it.

Wurstkuche2I, Customer, am an individual. One of a kind. All my friends are one of a kind. I got my thing, you know, just like you got yours, just like everybody’s got their own. I am basically awake 24 hours a day, because I got plates in the air, you know. My homies in Bulgaria are coding some tracks we’re going to run off a honeypot server for which we are getting paid by a new label in Atlanta call Tso-Tso that does B-Boy tracks for mall shows and competitions all over the Southern U.S., Australia and the Philippines. Shit is off the hook. We get a dollar per download, and already this month we’ve made five thousand dollars. First thing in the morning, I am catching a plane to Fort Meyers to work with some friends down there who have a band and play clubs at night, and weatherize houses during the day for twenty bucks an hour. I’m producing their next album and they are paying me by getting me a job weatherizing houses for the summer. And on the weekends we take out one guy’s girlfriend’s family’s boat and party like animals. Any brand that’s down for this scene is welcome to roll with me.

In a sustainable economy, how we roll is going to be much more important than how much we roll.  It used to be about the size your boat.  Now it’s about boating like only you (and your crazy friends) know how.

Wurstkuche1