Posts Tagged ‘marketing’
There’s a lot of talk about “brand” lately and, while I can’t claim this to be a new phenomenon, with the rise of social media the notion has extended beyond the walls of advertising and marketing meetings. Now that nearly everyone is on Facebook, Twitter, Pinterest, and a host of other online forums, the term has come into public consciousness. People are asking how they want to present themselves to the world: what do I stand for? What should be public and what should remain private? What will build a reputation and what might destroy it? In essence, what is their “brand”?
There are many skeptics when it comes to branding. Those who view it negatively see it as insincere, disingenuous, and manipulative. But it doesn’t need to be this way. There’s a case for genuine marketing, a way of creating a strong, decided presence in order to connect with an eager audience.
I work in book publishing and constantly have to remind myself that not everyone knows what an imprint is: a subdivision of a larger publishing house. For example, Vintage is an imprint of Random House; Scribner, an imprint of Simon & Schuster; Riverhead, an imprint of Penguin; and St. Martin’s Press, an imprint of Macmillan.
For some who live within this bubble of publishing it can come as a surprise that not everyone looks at the spine of a book (where the name and logo of the imprint is located) when they walk into a bookstore; to us insiders it’s practically second nature. However, knowing what an imprint is and becoming familiar with what they publish can be incredibly useful to the general public.
Oftentimes you can tell the tone and quality of a book based on which imprint publishes it. If you’re looking for a business book, Crown and Portfolio are good bets; if you’re looking for something more literary Farrar, Straus and Giroux or Knopf might be the way you want to go; or if you are looking for something quirky in paperback, Harper Perennial, Three Rivers Press, and Plume will probably do the trick.
For those steeped in book culture these imprints are shorthand or, for those who like an air of exclusivity, secret code. It is this subsection of the book buying community that publishers—through social media and traditional advertising—can use branding to connect with and expand their audience.
What marketing naysayers might not know is that there are a number of professionals who are passionate about their branding projects, think deeply about their craft, and who don’t approach awareness-raising with cynicism.
In Brand Thinking and Other Noble Pursuits, Debbie Millman, partner and president of the design division at Sterling Brands, President Emeritus of AIGA, and chair of the School of Visual Arts’ master’s program in Branding, sits down with leading thinkers and designers in the field to get their thoughts on advertising. Throughout her interviews, Millman asks poignant and tailored questions. These unique conversations allow for a diverse range of definitions, anecdotes, and views of the industry.
In her introduction, Millman explains that “branding is a history in flux, and [her] hope is that this collection of conversations can provide a time capsule of the second decade of the 21st century.” Throughout Brand Thinking, humanity and storytelling are common themes; nearly everyone who creates campaigns has a desire to explore what brands are and what brand awareness means.
One of the participants is Dori Turnstall, an Associate Professor of Design Anthropology, an area of study she explains has two components: the practical dimension, how to design products based on our understanding of people, and the theoretical, understanding how “the process and artifacts of design help define what it means to be human.”
From cultural critics Daniel Pink and Malcolm Gladwell to designer Karim Rashid to entrepreneur Seth Godin to a number of industry executives, Millman asks her subjects to explore the notion of “brand.” Each come to varying conclusions while sharing years of experience and knowledge.
Here are just a few excerpts from a book full of fascinating answers.
As mentioned, marketing expert Seth Godin was interviewed for the book. Here he defines brand:
I believe that ‘brand’ is a stand-in, a euphemism, a shortcut for a whole bunch of expectations, worldview connections, experiences, and promises that a product or service makes, and these allow us to work our way through a world that has thirty thousand brands that we have to make decisions about every day.
Wally Olins, Chairman of Saffron Brand Consultants of London, Madrid, Mumbai and New York, and author of a number of books on branding, has this to say about different mediums throughout the years (something to keep in mind as we’re flooding with information about the Internet and mobile devices):
Television didn’t kill radio; film didn’t kill theater. There will certainly be huge changes. But one medium doesn’t kill another. Each new medium actually makes the previous one better. Radio no longer resembles what it was before television. Television no longer resembles what it was before the Internet. All these things will change, but they give us a multiplicity of choice.
Anthropologist and author Grant McCracken, formerly a senior lecturer at the Harvard Business School and consultant for Coca-Cola, Chrysler, and Kraft, says this about understanding culture:
Designers—or indeed anybody who’s interested in business change or social change—need to make a knowledge of the culture and the social world in which they work the first condition of their provocation.
Regarding storytelling, former Chief Creative Officer of Ogilvy & Mather Brian Collins, who now runs his own communication and branding firm and whose clientele history includes Hershey’s, Coca-Cola, and Microsoft, says:
I think the secret to working with existing brands is to help them find their intrinsic story. And then amplify the stories for new generations to share. Brands have become the best device for perpetuating mythic archetypes. …
We say we want information, but we don’t experience the world through information—we experience the world through story. … Stories are how we give meaning to what happens to us. When we call upon them, they activate archetypes—”archetypes” as defined by Carl Jung. They remind us of eternal truths, and they help us navigate through our lives.
Stanley Hainsworth former VP of Global Creative at Starbucks and Former Creative Director of Nike says:
For me, it’s all about having a story to tell. This is what will enable you to create an experience around the brand. … You go back to the essence of the brand. Why was it made? What need did it fill? Go back to the origins of a brand and identify how it connected to consumers and how it became a relevant, “loved by families” product. What were the origins of this story?
And Cheryl Swanson, founder of brand consultancy Toniq says:
A brand is a product with a compelling story. … The brands are totems. They tell us stories about our place in culture—about where we are and where we’ve been. They also help us figure out where we’re going.
President of Innovation at Sterling Brands, DeeDee Gordon, discusses the need for the audience to feel like they’re a part of brand:
It’s not enough to produce great creative work. Consumers won’t automatically like an idea just because a brand says so. They need to be part of the creative process—a process that is fluid, organic, and on their own terms. A process like this produces the most useful insights and allows designers to think about products in a whole new way—oftentimes, they’re introduced to entirely new ideas. Consumers can be designer’s biggest advocates, but only if designers will let the conversation happen and give consumers the respect they deserve by allowing them to have a say.”
Whether you’re in an industry that sells books, food, clothing, or some other object with numerous competitors, Brand Thinking will start you on a path to exploring a way to differentiate yourself from the pack, one that’s light on cynicism and heavy on passionate belief.
When you’re finished reading, Debbie Millman hosts a podcast on Design Observer called “Design Matters” where she speaks with innovators and creatives in the design field in the same manner featured in Brand Thinking. These thoughtful and stimulating conversations are an excellent compliment to her books and will keep you tide over until the next one.
As someone who went to school for Music Business and who now works in book publishing, I often see the parallels between musicians and authors. It always surprised me when I first started my job search and the interviewer would ask, “Music Business? Why do you want to get into book publishing?” For me it was an easy leap, whether you’re working with a musician or a writer, it’s artist representation.
So, when I heard from John Anealio, co-host of the Functional Nerds podcast, that he wanted to have me on the show alongside a music marketing strategist, I was excited he made the connection as well.
The other guest on the show, Brian Thompson, is a “Vancouver based music industry entrepreneur, record label owner, artist manager, marketing consultant, digital strategist, brand architect, web designer, blogger, podcaster and industry speaker.” He’s one of the co-founders of Thorny Bleeder Records, “an artist development collective” that helps bands “establish and grow their profile and fan base, both domestically and internationally.”
Since being on the show with him, I’ve signed up for his email newsletter, The DIY Daily, a “daily newsletter delivering marketing advice, music industry news, social media tips & tools, tech, apps & gadgets, inspirational & motivational thoughts and much more.” Everyday, waiting for me in my inbox, are 20 great links about how artists of all kinds can use social media effectively. More than most apply to the publishing industry and are links I can forward along to my authors.
On The DIY Daily website, you’ll find a daily podcast offering a variety of marketing tips in under 20 minutes, an in-depth weekly podcast about the music business, daily quotes, and the aforementioned link roundup if you prefer to not to receive them by email.
On the show, Brian, John, Patrick and I discussed the benefits of email lists, social media, and how artists should treat themselves as a business.
You can listen to the episode here.
If you have any questions, check back on the Functional Nerds site next week. Book Publicist Jaym Gates and I will be collecting questions for a future online round table.
On the Shelf
Booklife: Strategies and Survival Tips for the 21st Century Writer by Jeff VanderMeer
Best known as the author of many science fiction and fantasy novels, as well as the editor of many genre anthologies, in Booklife, Jeff VanderMeer offers “timely advice in an era when the burden of production and publicity frequently falls on authors.” Booklife is an “essential reference [that] reflects on methods for being focused, productive, and savvy in the craft of writing.
Discussing a wide range of essential topics for self-promoting authors, this important guide explores questions such as How can authors use social media and the internet? How does the new online paradigm affect authors, readers, and the book industry? How can authors find the time to both create and promote their work? and What should never be done? Through good-humored encouragement, practical tips of the trade culled from 25 years of experience as a writer, reviewer, editor, publisher, agent, and blogger are shared. Including topics such as personal space versus public space, deadlines, and networking, the benefits of interacting with readers through new technologies is revealed.” [via IndieBound]
The unconventional documentary filmmaker Morgan Spurlock, best known for his film Super Size Me, an account of what happens when you eat only McDonald’s for 30 days, explores the advertising industry in his latest production. The Greatest Movie Ever Sold, now available on DVD, is an inside look at the ubiquity of advertising today. Spurlock pulls back the curtain to expose how product placement makes its way onto our television screens, into our Hollywood films, and even onto the fields of our high school football games.
In a humorous, meta-twist Spurlock seeks to finance the project with ads, auctioning off screen time in exchange for start-up money. A camera crew follows him as he meets with potential investors, pitches the idea, and hashes out the contracts.
As companies step forward, some of them major corporations with images to protect, and make their demands, Morgan worries about his integrity; however, his concern has the feel of a clever charade, a playful way to include critical voices. Morgan meets with cultural commentators such as Noam Chomsky and Ralph Nader as well as successful film directors J.J. Abrams and Quentin Tarantino. In their interviews, the former discuss corporate power and its influence on the general public while the latter share their firsthand experience with advertising in the film industry.
Pom Wonderful, the pomegranate juice company, winds up paying the largest sum, 1 million dollars, and their name, as part of the deal, is placed on the marquee. In fact, the full movie title is “Pom Wonderful Presents: The Greatest Movie Ever Sold”. Their financial support also means that whenever Morgan is in a meeting, Pom’s pomegranate juice is on the table. Similarly, wherever other drinks are present, those other company’s logos are out of focus. There are even a few commercial breaks featuring Spurlock as the star. Jet Blue, another major backer, gets the special treatment with an interview taking place in one of their terminals.
As the advertising industry’s marketing departments mingle with science, their tactics are honed to perfection. Using manipulation, these companies are able to steer customers away from the competition and toward their product. Morgan visits a neuroscientist who scans his brain in an MRI machine while he watches advertisements featuring images meant to inspire fear, induce cravings, and rev up the hormones.
In his trip to Sao Paolo, Brazil, where public advertising has been banned, the audience is given a glimpse of urban life without a barrage of images, a stark contrast to the scenes shot in New York City and Los Angeles.
The Greatest Movie Ever Sold benefits from Spurlock’s wit and charm. As the New York Times says in their review, “Mr. Spurlock has Mr. [Michael] Moore’s prankster’s instincts, though not his sense of outrage.” It’s this lack of outrage that makes an otherwise damning movie downright amusing. No one comes out looking like a villain but viewing audiences will walk away better educated.
This film is perfect for those who appreciate sarcasm and those concerned with endless advertising in our lives—and everyone in between. The Greatest Movie Ever Sold shows that a lighthearted approach to a serious topic can be just as thought-provoking as a dogmatic one. After watching Spurlock’s on-screen antics, you’ll never miss those faced-out soda cans on your favorite prime time show again.
The Greatest Story Ever Sold official website
Morgan Spurlock’s TED Talk for The Greatest Story Ever Sold
Morgan Spurlock on KCRW’s The Business
Morgan Spurlock on NPR’s Talk of the Nation
Morgan Spurlock on Funny or Die (opens with sound)
Interview with Morgan Spurlock at AdWeek
Rogert Ebert’s review
New York Times review
AdWeek dives deeper into the MRI
What’s On the Shelf?
The Hidden Persuaders by Vance Packard
“The Hidden Persuaders is Vance Packard’s pioneering and prescient work revealing how advertisers use psychological methods to tap into our unconscious desires in order to “persuade” us to buy the products they are selling.
A classic examination of how our thoughts and feelings are manipulated by business, media and politicians, The Hidden Persuaders was the first book to expose the hidden world of “motivation research,” the psychological technique that advertisers use to probe our minds in order to control our actions as consumers. Through analysis of products, political campaigns and television programs of the 1950s, Packard shows how the insidious manipulation practices that have come to dominate today’s corporate-driven world began.” [via IndieBound]
Consuming Kids: Protecting Our Children from the Onslaught of Marketing & Advertising by Susan Linn
“[P]rovides instead a measured, but ultimately devastating, critique of consumerism and American childhood.
Children influence some $600 billion in annual spending, and marketers, as Linn amply documents, will stop at nothing to harness this kiddie-consumer juggernaut. Of the head-shaking stats and anecdotes Linn supplies, perhaps the most repulsive is the “nag factor study,” which identified the parents most susceptible to ‘pester power,’ whose kids thus make the most profitable advertising targets.” [via Mother Jones]
Buyology: Truth and Lies About Why We Buy by Martin Lindstrom
In Buy-ology: Truth and Lies About Why We Buy, author and marketing guru Martin Lindstromtakes us on a behind the scenes look at what sells and why we are lambs to the slaughter when it comes to buying ‘stuff.’ . . . Using one of the largest neuromarketing studies, Lindstrom attempts to look past what we say and figure out why we do what we do and how our brain responds to all of the incoming stimuli.” [via Interview with TreeHugger]
How We Decide by Jonah Lehrer
“Jonah Lehrer’s engaging new book, “How We Decide,” puts our decision-making skills under the microscope. . . . [Malcolm] Gladwell’s book [Blink] took an external vantage point on its subject, drawing largely on observations from psychology and sociology, [to study the boundary between reason and intuition] while Lehrer’s is an inside job, zooming in on the inner workings of the brain. We learn about the nucleus accumbens, spindle cells and the prefrontal cortex.” [via The New York Times] Watch Jonah discuss his book on Fora.tv (opens with sound).
No Logo by Naomi Klein
“Klein’s writing caught the wave of anti-globalization protests that swept across the planet a decade ago, beginning with the massive and violent demonstrations against the World Trade Organization meeting in Seattle in November 1999. Almost immediately, wherever world leaders gathered—international economic conferences, G8 summits, trade negotiations—they would be met with street protests and a parallel meeting of the planet’s angry marginalia, including counterculturalists, environmentalists, socialists, labor organizations, and human rights activists. No Logo was quickly adopted as the movement’s bible and, along with Nalgene water bottles and khaki cargo pants, became an essential part of the general-issue battle kit for campus lefties.
What are we to make of No Logo a decade on? It remains a passionate and ambitious snapshot of the newly globalized youth and consumer culture at the end of the 20th century. It is also an often infuriating work of agitprop that marries old Marxist prejudices about the market economy to a paranoid and conspiratorial account of the business of advertising.” [via Reason]