Posts Tagged ‘Branding’

The Cynical Girl

Friday, September 30th, 2011

Laurie Reuttimann came to my attention a couple of years ago when I was looking for gamechangers in the HR field and her blog, Punk Rock HR (tagline: “Teamwork is for suckers.”), snagged my attention. Her stuff was hilarious, honest, and in an envronment that can be obsessed with compliance and normative behaviors, breathtakingly contrarian. She retired Punk Rock HR in June, 2011, and today, goes by the handle of Cynical Girl. CynicalGirlHeader1

I could give you a million reasons why Laurie Reuttimann is a gamechanger, I’ll give you one. She understands the difference between business objectives and business outcomes. So often, we muddle the two, and think they are the same thing. They are not.CynicalGirlHeader2

Laurie’s objective with ‘The Cynical Girl game’ is to,”build a portfolio career. You should build one, too,” she writes in her last Punk Rock HR post.

The outcomes will be things like people changing their own games, finding work, passing her links around, friending and following her online, sharing an occasional smile, and using our newfound cynical outlooks to not automatically buy into the bullshit, especially our own.CynicalGirlHeader3

Objectives are singular. Outcomes are infinite. Focus on objectives to realize outcomes.

Or don’t. The Cynical Girl doesn’t give a damn. She’s too busy babysitting cats to babysit you.CynicalGirl1

De-Severance

Tuesday, September 13th, 2011

Dr. David Boje, the author of Storytelling Organizations, is on the faculty in the College of Business at New Mexico State University, and he is also a skilled blacksmith, who comes up with many of his ideas while he’s working in his forge. Among his creations are kung-fu swords forged using 1075 high carbon steel. Boje uses the phrase ‘de-severance’ to describe the work of the blade. By this, he means that the purpose of the blade is not cleaving, but connecting–connecting fire and steel, art and craft, action and purpose, history with the moment of creation. The act of de-severance connects a blacksmith in Las Cruces, N.M. in 2011, with every other blacksmith who ever forged a blade at any time, for any reason.

As you go about your business today, wielding a sword forged by your your authority, your education, your responsibility, your intelligence and experience, don’t think of this sword as a severing device that you use to slice, dice, and eviscerate. Don’t go medieval on anyone’s ass, or be chopping off  heads to generate fear among the populace. Instead, think of this sword of yours as a de-severing device, a weapon of compassion, one that joins–SwordsCollage1

the fire of purpose with the steel of structured action;

the art of entrepreneurship with the craft of leadership;

the genius of others with your own;

your history and your future;

your intuition and your intellect;

your character and your role;

your brand and your customers.

A weapon of choice isn’t the same thing as a choice of weapons. How you choose to use your weapon is way more important than what weapon you choose to use.

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.

What is a Theme?

Monday, July 11th, 2011

SarahLawrence2Last week GameChangers got hired to conduct a ‘thematic exploration’ of a client’s brand. Most of us, at one time or another in our educational lives, if not our working lives, have had to wrestle with themes. What are they? And, when it comes to business, what purpose do they serve?SarahLawrence6

Themes are Big Ideas. That’s part of it, but only part of it–because ideas can get too big, and, like a balloon so large it cannot be inflated, they will never find their definition, nor serve their purpose.

‘Stardom’ is a Big Idea. So is ‘Food.’ They are not themes. They are un-inflatable balloons, weighted down with so much meaning we can never get them off the ground. What makes a Big Idea buoyant? What gives it definition and gets it off the ground? Explorability.SarahLawrence5

The Big Idea must be Explorable (by at least two people at any one time). When a theme is Explorable, we can map to it. It can help guide us, and give us our bearings. At any given time, we can assess our position with regards to it. Themes, by virtue of their Explorability, suggest action. We can do something about them, through them, with them.SarahLawrence3

‘Reality Show Stardom’ is a theme. ‘Food of Love’ is a theme. (’Love of Food’ is another theme altogether.) When a Big Idea is Explorable, we can tell, and others can tell, objectively, whether we are engaged with the Big Idea or not. If we are studying dance at Sarah Lawrence, we are, in all probability, not exploring the theme of ‘Reality Show Stardom.’ It’s easy, by contrast, to imagine a hundred moves that do explore that theme. If we propose marriage over dinner, we’re sailing in the ‘Food of Love’ balloon. If we’re eating Cheerios and checking the box scores from last night’s game, we’re in a different balloon. Explorability gives Big Idea shape and definition, and carries us into new territory.SarahLawrence4

Which brings us to the business purpose of a theme:

The exploration of a Theme transports us. That, by itself, would be enough to make the exploration of a theme a valuable exercise. The buoyancy inherent in a Big Explorable Idea gives wings to our actions and adds to our sense of purpose. If a theme is strong, rather than get lost in the exploration of an idea,we have the potential to discover ourselves it it.

There’s a second big reason that Themes are important to business and brands: Themes are the glue that bind your brand to your customers. They are common ground that you explore together. Social media are the mechanisms, a garage full of vehicles, so to speak. Themes define the conceptual, physical and virtual territory you and your customers can explore together.

The narrative belongs to the customer. By exploring Themes that are authentic to your brand and relevant to your customers, you increase the probability that your product will play a meaningful role in their lives.

All photos in this post are from http://www.slc.edu/graduate/programs/dance/

All photos in this post are from http://www.slc.edu/graduate/programs/dance/

The Flickinger Factor

Tuesday, May 17th, 2011

FlickFactor1Once upon a time, I met Clem Flickinger, 93 years old, who was the same age as his neighbor, Walt Disney, when they were boys growing up in Marcelline, Missouri. Clem told me that when they were six years old, Walt had an idea for the two of them to stage a circus in the basement of Walt’s house. “The only act we had was Walt’s mom’s cat, which Walt could get to sit on a stool,” Clem said. “The only customer was me. Walt charged me a dime, which was the only money I had. When Walt’s mom found out that he had taken my dime, she made him give it back to me.”

This was the stuff on which an empire was built.

The empire wasn’t predicated on the making of money. Young Walt quite literally did not make a dime. There was a transaction. Money changed hands. But the lasting value, what remained after the dime had been added and subtracted, was elsewhere.

The value was in the creation of a memorable experience, resulting in a story that was still wonderful in Clem Flickinger’s telling almost 90 years later.

The value was in working with animals, and making them characters in your narrative.

The value was in getting your friend and neighbor to play along.

The value was in using the material you had available to you. Cat+ Basement+Stool=Circus!

The value was in gaining the entrepreneurial resolve to hang onto the next dime that came your way.

The value was in getting your family involved.

[Walt was the male runt of the Disney litter, nine years younger than the next oldest boy, Roy, and 12 or 14 years younger than the oldest boys, Herb and Ray. On a family farm like theirs, a six-year-old was practically a non-entity. No doubt Walt's circus got him some attention at the supper table that night, even if it was getting his no-nonsense dad, Elias, riled up again, like earlier that summer when Walt had talked his little sister, Ruthie, into helping him paint a city skyline on the side of the Disney farmhouse with roofing tar, which had earned Walt a righteous spanking.]

There was value in breaking a routine that got you no attention.

Around the same time I met Clem, I listened to a set of rare tapes in the Disney Studio archives, recorded in the mid 1950s, of Walt giving an oral history of the studio. A ghost-writer recorded him as research for book to be called My Dad Walt Disney, which would be serialized in LOOK Magazine under the byline of Walt’s 12-year-old daughter, Diane. In those recordings, Walt had a charming way of tracking his studio’s financial fortunes. As he listed the films the studio had made, he’d say [for example], “Well now, let’s see, Dumbo cost us one [million], and it made one and a half. Bambi cost us one and a half and it made two, so we made a half. Make Mine Music cost us one, but it only made a half, so we lost money on that one.”

Sitting atop an empire worth millions, and soon, with the launch of Disneyland in 1955, about to be worth a lot more, there was still a lot of value in a single digit.

Irving Ludwig, the distribution mastermind from New York, who had triggered the 1960s boxoffice revival of Fantasia (which had been a flop when first released in 1940), and had later moved to Burbank to run Disney’s distribution arm, Buena Vista, once told me that his boss, Roy Disney, paid generous rebates worth millions of dollars to the exhibitors who profited from the Fantasia revival, because, as Roy explained it, “they stuck with us when the studio wasn’t doing as well as it is today.” The value of loyalty, and the relationship with their business partners was worth more to the Disneys than a financial windfall that was, contractually, theirs to collect.

It’s not that the money doesn’t matter. It does. But it’s just a footnote to the creation of lasting value. When you understand what builds and sustains the business, it can be okay, or even good for the business, to ‘give back the dime.’

I call this difference between the value of the transaction and the value of the experience the Flickinger Factor. It is the Flickinger Factor, and not the money, that is ultimate measure of your achievement. Your narrative. Your brand. Your legacy in the world.

So what are you doing today that might be making people smile 90 years from now?

Scott Avidon offers $25,000 for a job lead

Tuesday, November 16th, 2010

ScottAvidon1

This came across the Huffington Post yesterday.  I love Scott Avidon’s approach to a job search.  It is generous and ingenious.  It reminds me of our friend Erick Brownstein’s cousin, Alec, who got a job as an art director in NYC by buying the names of all big agency Creative Directors as Google keywords, so that when they Googled their own names, his C.V. was in the top five results.

In his ‘brand narrative,’ Avidon does a good job of communicating on the meta level, and he speaks well on the emotional level, too.  The images he uses on his job search blog are pure meta, not the least of which is the fact that his own image is balanced with the other five.  It suggests a balanced life.  But not TOO balanced.  Avidon, an industrial designer by training, has laid out the page so that the images and the program description near the bottom are justified left while the rest of the content on the page is centered.  It doesn’t matter whether this is Avidon’s conscious design or an accident, it’s brilliant,  because it uses the meta meaning in design to communicate the INCOMPLETENESS of the narrative.  Something’s missing.  Something we, in the audience, naturally want to fill.  We are coded as human beings to strive for completeness, and the incompleteness on Avidon’s page gets us leaning forward, into his narrative, as a result.

As a systems thinker, Avidon has plugged, somehow, into the HuffPost network in order to expand his narrative in a quantum way that is of his doing, but is now, by his design, out of his control.  His work now consists of channeling the chaos that ensues.  This is good narrative science, and conjures up something that cannot be present in a flat resume.  Energy, vitality, generosity, creativity, dimensional thinking.

Compare Avignon’s narrative to a typical job query or resume, which is primarily cosmetic: information, facts, history, data points, objectives. There’s no comparison.

Employers today are looking to invest in personal narratives, in trajectories, and in generative, ‘Yes-And’ thinking.  Companies hire individuals who can make good moves when faced by unforeseen circumstances.  Who share their own success with their team.  Who can be engines of newness and positive change.  That you’re knowledgeable at what you do is just table stakes that can get in the game, maybe.  Whether or not you can change the game in your favor is what really counts

I hear Oblong Industries is hiring.  They need Scott Avidon on their team.

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.”

Saluting Leroy Stick

Thursday, June 3rd, 2010

BPGlobalPR1Leroy Stick authors the brilliant BPGlobalPR Twitter account.  If you’re not following it, you should, because it’s another  good window on how social media acts on environment, and it’s one of the most engaging narratives you’ll find in any medium, tragic and hilarious and ultra-tuned to the zeitgeist, all at once.  It is a running commentary on what happens when a brand believes it can impose its own reality on a world that knows better.

Two days ago, Mr. Stick explained the genesis of BPGlobalPR.  Thanks to @andysternberg of Live Earth for pointing it my way.  Here’s an excerpt:

You know the best way to get the public to respect your brand?  Have a respectable brand.  Offer a great, innovative product and make responsible, ethical business decisions.  Lead the pack!  Evolve!  Don’t send hundreds of temp workers to the gulf to put on a show for the President.  Hire those workers to actually work!  Don’t dump toxic dispersant into the ocean just so the surface looks better.  Collect the oil and get it out of the water!  Don’t tell your employees that they can’t wear respirators while they work because it makes for a bad picture.  Take a picture of those employees working safely to fix the problem.  Lastly, don’t keep the press and the people trying to help you away from the disaster, open it up so people can see it and help fix it.  This isn’t just your disaster, this is a human tragedy.  Allow us to mourn so that we can stop being angry.

Sponsors Step Up!

Tuesday, April 27th, 2010

There’s still time to join DHL-Africa, Special Olympics, Alive & Kicking, Africa Ten and GameChangers as sponsors of The Ball’s epic journey to the 2010 FIFA World Cup!    Follow the journey at http://theball.tv

TheBallFetishman1If your brand has an ounce of artistry to it, an iota of creative mojo, you will see, as DHL-Africa and Special Olympics have seen, as Tali Krakowsky wrote for Creativity Online, that the game IS the campaign, and because this is the game upon which the world’s attention will be centered for the next 90 days, this is where savvy brands will be. What are you waiting for, the NEXT World Cup?  Your ESPN luxury suite passes?  Those come later.  The game is NOW.

Packages available:

30-DAY LEAD-IN TO FIFA WORLD CUP* KICKOFF
Tanzania 30th Apr — 9th May
Malawi: 9th May — 18th May
Zambia: 18th May — 25th May
Namibia: 25th May — 2nd June
Botswana: 2nd June — 6th June
Arrival: South Africa: 6th June

TheBallMagness1FIFA WORLD CUP PRESENCE

6th June—–12th July:   TV and other media; personal appearances; presentations; five-on-five mixed celeb/Special Olympian Games with 2 New Sponsor players

“SPIRIT OF FOOTALL” DOCUMENTARY
(In partnership with Africa Ten Enterprises, producers of the feature World Cup documentary, “Africa Ten”) ‘Name above Ttle’ sponsorship is available.  Post-production and distribution partnerships also available.  300+ hours of HD footage of three football-loving blokes on an adventure that gets to the heart of why they call it The Beautiful Game.

ENDORSEMENTS AND REPRESENTATION

Post FIFA World Cup sponsorship of Spirit of Football and the central characters on The Ball’s Journey to the World Cup: Christian Wach, Phil Wake and Andrew Aris.

OPTION ON 2014 FIFA WORLD CUP SPONSORSHIP
TheBallKwekuStudents2010’s sponsors have right of first refusal in their category for The Ball’s Journey from the birthplace of modern football, Battersea Park in London, through North America, to Rio de Janiero, site of the 2014 FIFA World Cup.

Make your brand part of this great story when the eyes of the world turn to South Africa in June!

Contact:  Phil Wake (phil@spiritoffootball.com) or Anna Weltner (anna_weltner@yahoo.com) to see how you can support the quest.


*The Spirit of Football is not affiliated in any way with FIFA.  We’re using the name so you know which World Cup we’re talking about!TheBall_WithPilots1

Paddles, Balls and Painted Dogs

Friday, April 16th, 2010

This one goes out to all the storytellers…

Ping Pong wasn’t perceived as a real sport until it became table tennis.  And now that it has its first sex symbol in Biba Golic, it has, let’s say, aroused a certain demographic that paid scant attention to it before.PingPongTableTennis1

The wild dogs of Africa could not be brought back from the brink of extinction until Greg Rasmussen renamed them ‘painted dogs’ (per Nick Kristoff in the NY Times).

And the art of storytelling won’t gain mainstream cred with MBA-educated managers and their brands until professional storytelling gets re-branded and re-positioned.  This came to me while I was reading about how  legendary story consultant Steve Denning changed his working vernacular so he could talk to his clients without them thinking they already knew it all.

Let’s begin by looking at the current status of storytelling in business.  Many managers will tell you that storytelling is too airy to feed the bottom line, or as Denning says, they think they’ve got their story covered.   And they do.  They have it covered.  As in they have a story and they’re sticking to it.  Bringing up the subject of storytelling can be a license to snark.  “Story?  Yeah, we got a story.  We sell our product as often as possible for more than it costs to make and deliver it.   We make our number.  We go get a a drink.  We live happily ever after until the next quarter.  The end.”

As we know, these perceptions cripple a brand.  When a story stops moving forward, it dies.  And when a brand’s story dies, the brand is sure to follow.  Here are three moves professional storytellers can make to break through the crippling perceptions.

1)  Shift the focus from ’story’ to ‘narrative.’ Narrative is our table tennis.  It is our painted dog.  Story is finite.  It has three parts, beginning, middle, end.  Narrative, by comparison, has infinite potential.  It is flow.  It is to organizations and brands what the Ohio River once was to the Shawnee Tribe.  The source of sustenance.  Stories are like the fish that come from the river and feed the family.  Narrative is the river.

2)  Share the narrative. In the networked world, brands can no longer script and control their stories the way they used to when there were only twelve or fifteen media channels for a manager to worry about.  And they can no longer operate on the false assumption that the story that works today is the same one that’s going to work tomorrow.  Today, brands have to find ways to participate in their customers’ stories.  They have to learn to share the brand narrative with customers.  That is a tectonic shift whose implications have just begun to surface in C-suite discussions and executive reading lists.

Sharing the narrative has many benefits.  (We’ve been listing them here for two years, check the archives for backstory.)  One of the big benefits is that narratives that result from collaboration with the customer energize a brand like nothing a brand can do on its own.  And thanks to the proliferation of media platforms, sharing the narrative has the potential to generate ‘positive unforeseen outcomes’ on a massive scale.

3)   Move from scripted to improvised narratives.  Shared narratives cannot be scripted, they have to be improvised into existence. There are too many players in the game to script for all of them, and make no mistake, each and every player plays a role. All it takes is one customer with a bitch and a big network to knock down your market cap like Bluto took out Popeye before he ate his spinach.  Improvisation is to narrative what spinach is to Popeye.  Scripted (and re-scripted and re-re-scripted) scenarios quickly fall out of sync with the customer audience.  Improvisation, by contrast, is about staying in the narrative flow. If you’re not in it, you’re out of it.  Eat your spinach!

Stories are the best way we have of simplifying complexity, of finding common ground.  They provide context that no technology or platform can. In a complex system, context owns.  Because business gets conducted in an environment that’s exponentially more complex today than it was yesterday, story is more important than ever.  But like everyone else does, we have to go about our work differently.  We’re not just storytellers, we are experts in the science of narrative.   We are Shawnee.  We are hot blondes armed with paddles and balls.   We are painters of dogs.PaintedDog1