Swelling Ground

Groundswell

The lovely Dr Stephanie asked me to write a review of Groundswell for the International Journal of Advertising.

So I did.

You can download it here.

I start off with a kind of anthropological musing on our social nature and the dialectic between individuality and community and that, shout outs to Mark and Clay and Jeff, but eventually I get on to the book itself.

The gist of it was I really like the book - it's full of usefulness and inspiration and good frameworks and that - it's only let down in some sense by its very bookness:

However, to really understand social media, it’s not enough to read a book: you need to live it.

So do read the book, but get out there and start being social as well.

The blog for the book continues the conversations.

[Update: This is a very thorough guide to social media etiquette via @misentropy]


The Second Age of Conversation

AOC2

A while ago, Drew and Gavin got a hundred bloggers to all write a chapter each of a book and then sold the book for Variety the Children's Charity.

It was called the Age of Conversation and was a remarkable feat of digital cat herding.

Because they are masochistic and like doing things for Variety, they have just done it again, this time with 237 authors from 15 countries.

The result is the Age of Conversation 2 which went on sale this morning.

Please go and buy it right now. Go on.

All proceeds go to help kids that need help - making this officially a GOOD THING - and you get a book with lots of interesting stuff in it thrown in free with the warm feeling.

I wrote a thing about the need for technology to be incorporated into the creative process, but don't let that put you off.

Look at all the other people who wrote chapters:

A   Adrian Ho, Aki Spicer, Alex Henault, Amy Jussel, Andrew Odom, Andy Nulman, Andy Sernovitz, Andy Whitlock, Angela Maiers, Ann Handley, Anna Farmery, Armando Alves, Arun Rajagopal, Asi Sharabi

B   Becky Carroll, Becky McCray, Bernie Scheffler, Bill Gammell, Bob LeDrew, Brad Shorr, Brandon Murphy, Branislav Peric, Brent Dixon, Brett Macfarlane, Brian Reich

C   C.C. Chapman, Cam Beck, Casper Willer, Cathleen Rittereiser, Cathryn Hrudicka, Cedric Giorgi, Charles Sipe, Chris Kieff, Chris Cree, Chris Wilson, Christina Kerley (CK), C.B. Whittemore, Chris Brown, Connie Bensen, Connie Reece, Corentin Monot, Craig Wilson

D   Daniel Honigman, Dan Schawbel, Dan Sitter, Daria Radota Rasmussen, Darren Herman, Dave Davison, David Armano, David Berkowitz, David Koopmans, David Meerman Scott, David Petherick, David Reich, David Weinfeld, David Zinger, Deanna Gernert, Deborah Brown, Dennis Price, Derrick Kwa, Dino Demopoulos, Doug Haslam, Doug Meacham, Doug Mitchell, Douglas Hanna, Douglas Karr, Drew McLellan, Duane Brown, Dustin Jacobsen, Dylan Viner

E   Ed Brenegar, Ed Cotton, Efrain Mendicuti, Ellen Weber, Eric Peterson, Eric Nehrlich, Ernie Mosteller

F   Faris Yakob, Fernanda Romano, Francis Anderson

G   Gareth Kay, Gary Cohen, Gaurav Mishra, Gavin Heaton, Geert Desager, George Jenkins, G.L. Hoffman, Gianandrea Facchini, Gordon Whitehead, Greg Verdino, Gretel Going & Kathryn Fleming

H   Hillel Cooperman, Hugh Weber

J   J. Erik Potter, James Gordon-Macintosh, Jamey Shiels, Jasmin Tragas, Jason Oke, Jay Ehret, Jeanne Dininni, Jeff De Cagna, Jeff Gwynne & Todd Cabral, Jeff Noble, Jeff Wallace, Jennifer Warwick, Jenny Meade, Jeremy Fuksa, Jeremy Heilpern, Jeroen Verkroost, Jessica Hagy, Joanna Young, Joe Pulizzi, John Herrington, John Moore, John Rosen, John Todor, Jon Burg, Jon Swanson, Jonathan Trenn, Jordan Behan, Julie Fleischer, Justin Foster

K   Karl Turley, Kate Trgovac, Katie Chatfield, Katie Konrath, Kenny Lauer, Keri Willenborg, Kevin Jessop, Kristin Gorski

L   Lewis Green, Lois Kelly, Lori Magno, Louise Manning, Luc Debaisieux

M   Mario Vellandi, Mark Blair, Mark Earls, Mark Goren, Mark Hancock, Mark Lewis, Mark McGuinness, Matt Dickman, Matt J. McDonald, Matt Moore, Michael Karnjanaprakorn, Michelle Lamar, Mike Arauz, Mike McAllen, Mike Sansone, Mitch Joel

N   Neil Perkin, Nettie Hartsock, Nick Rice

O   Oleksandr Skorokhod, Ozgur Alaz

P   Paul Chaney, Paul Hebert, Paul Isakson, Paul McEnany, Paul Tedesco, Paul Williams, Pet Campbell, Pete Deutschman, Peter Corbett, Phil Gerbyshak, Phil Lewis, Phil Soden, Piet Wulleman

R   Rachel Steiner, Reginald Adkins, Richard Huntington, Rishi Desai, Robert Hruzek, Roberta Rosenberg, Robyn McMaster, Roger von Oech, Rohit Bhargava, Ron Shevlin, Ryan Barrett, Ryan Karpeles, Ryan Rasmussen

S   Sam Huleatt, Sandy Renshaw, Scott Goodson, Scott Monty, Scott Townsend, Scott White, Sean Howard, Sean Scott, Seni Thomas, Seth Gaffney, Shama Hyder, Sheila Scarborough, Sheryl Steadman, Simon Payn, Sonia Simone, Spike Jones, Sreeraj Menon, Stanley Johnson, Stephen Collins, Stephen Landau, Stephen Smith, Steve Bannister, Steve Hardy, Steve Portigal, Steve Roesler, Steven Verbruggen, Steve Woodruff, Sue Edworthy, Susan Bird, Susan Gunelius, Susan Heywood

T   Tammy Lenski, Terrell Meek, Thomas Clifford, Thomas Knoll, Tim Brunelle, Tim Connor, Tim Jackson, Tim Mannveille, Tim Tyler, Timothy Johnson, Tinu Abayomi-Paul, Toby Bloomberg, Todd Andrlik, Troy Rutter, Troy Worman

U   Uwe Hook

V   Valeria Maltoni, Vandana Ahuja, Vanessa DiMauro, Veronique Rabuteau

W   Wayne Buckhanan, William Azaroff

Y   Yves Van Landeghem

So if you read a page and love it or think it's nonsense, you can go straight the source and discuss it, which is nice and conversational.


The Global Brand and Fuzzy Branding

What is a brand

A few days ago a nice publicist sent me a copy of The GLOBAL BRAND by Nigel Hollis, Chief Global Analyst at Millward Brown.

I was looking through the first few pages and there, to my vainglorious joy and utter surprise, was a quote from TIGS about the nature of brands as socially constructed ideas.

Awesome, I thought, especially the bit about oversimplifying, I so rarely get accused of that - I wonder what the rest is about.

The gist of it is about how to manage global brands, with all the inherent difficulties of creating an idea that works amongst very different, disparate, distinct groups.

So I sent Nigel some questions about it and he kindly sent some replies.

Here's what he said:

How does ethnographic context affect the nature of communication needed?

Ethnographic context has a critical influence on the nature of successful brand communication. Communication is integrally bound up with culture — our collective needs, beliefs and values — and culture still differs dramatically from one social group to the next.

At the risk of turning off every agency planner reading this, let me quote a couple of stats from Millward Brown's Link pretest database. An analysis of the TV ads that tested exceptionally well in one country found that only one in five did so in another. Nearly 1 in 10 tested badly.

Why? Because social mores, references and humor differ from one country to the next. We can't assume that what worked well in one country will work well in another.


How can a single brand appeal to diverse groups around the world that may differ in terms of attitudes or ethnicity?

I think the real question is, should a brand try to appeal to such disparate groups? Strong, successful brands need to stand for something. A brand that tries to appeal to different groups runs the risk of diluting the clarity of its positioning.

But really, it depends on your brand, category and context. How important is it that your brand is understood the same way in different countries? Consider Bournvita, the malted chocolate beverage. In the U.K., it is thought to give you a good night's sleep, while in Nigeria it substitutes for Viagra, and in India it makes your kids smart.

Is it a bad thing for the brand to be viewed differently in these different countries? I doubt it — although I might not recommend the UK positioning, since the brand has been discontinued there and growth in emerging markets was reported to be 47% in 2007.

On the other hand, it would be a problem for a brand that has international business clients, such as Accenture, to show a different face to those clients in each country they visited.


You cite McDonald's as an example of a company that balances a global brand identity with adapting to local tastes. How has McDonald's achieved this?

McDonald's boasts that it serves 50 million people every day at 31,900 locations in 118 countries. They couldn't do that without a very strong business model, and that's the foundation on which any strong brand is built.

McDonald's continues to invest in efficient systems and training to deliver on the promise of fast food that's enjoyable and a good value. Once the system is set up in a country, the chain can deliver a Big Mac, Chicken Maharaja Mac or a McTurco quickly and cheaply. Nor is McDonald's shy about experimenting with menu items, store design and communications to see what will work best.

 

Understanding local culture requires research, and you recommend that companies implement a global research program. What does this involve, and what are some of the challenges that researchers face?

I think a global research program is necessary when there is a need to compare performance across countries and cultures. Such comparisons would be called for in areas like brand equity research, tracking, and pretesting.

You need to be able to assess on a like-for-like basis whether a brand is strong or weak, whether attitudes are improving in all markets or not, or whether an ad will work well elsewhere. But when it comes to exploratory research, where the objective is understanding the local mindset, there can be a lot more leeway in the approach taken.

Researchers face two big issues in implementing global programs. First is the need to make comparisons that allow for cultural differences in answering questions, because, people respond to words and scales differently from country to country.

For example, "good" to the British equates to "excellent" among Mexicans. We need to make sure cross-country comparisons take those differences into account.

The second issue is the need to set aside prejudices and habitual ways of viewing the world. Researchers need to be aware that their assessment of results is heavily influenced by our own understanding and experience.

I have posted more information on how to conduct successful global research programs here.


Many companies don't have the time or the resources to tailor brands to individual countries and cultures. How can these companies find a balance between adapting to local needs and maintaining business efficiency?

This question gets asked a lot. The trouble is, it assumes that companies should do something even if they lack the resources to do it well.

First things first — you have to win locally before you can leverage efficiencies of scale. If your brand needs to be tailored, but you don't have the time or money to do it effectively, then don't do it.

In the long run, you will save a ton of money that would otherwise be wasted on products and services no one wants or communication that is off target. Focus on the markets where your product can succeed without adaptation.

So how do you know if you need to adapt your brand? Do your research. It's cheap by comparison to a failed launch. Find out what people really want, identify how to disrupt the existing status quo, and then test your execution – product, positioning and communication - against that objective.

The challenge comes when test results look just OK rather than great or terrible. In these cases, you have to give the benefit of the doubt to a global approach; otherwise you will lose all hope of retaining business efficiency.


Thanks Nigel! I shall read the rest in due course and let you know how it goes.

It occurs to me that there might be two approaches to global brands. Clarity, based on some simple human truth and that or something we'll call fuzzy branding.

Really global brands, Hello Kitty or Nike for example, as Rob Walker points out in Buying In, are undefined: they exploit vague meaning structures to encourage polysemous readings, which allows them to mean different things to different people in different contexts, as Nigel suggests about Bournvita above.

A bit like how Virginia Woolf claimed to handle symbolism as a nominally post-symbolist writer:

I can't manage symbolism except in this vague, generalised way. Whether it's right or wrong I don't know, but directly I'm told what a thing means, it becomes hateful to me.

Which seems like a useful guide when creating brand communication content.

Don't tell me what it means.

Give me some symbols.


What You Talkin Bout?

I've signed up to write a chapter of the second Age of Conversation blogbook - contentiously entitled Why Don't People Get It?

I'm not sure who these people are, or what exactly they don't get about conversations - Jason suggested that it refers to the marketing status quo - nor am I sure that I totally get it, whatever IT is, but that's not going to stop me writing something, possibly inspired by Gary Coleman.

[Sidebar:

[Sidebar to Sidebar: Do I actually need to say Sidebar. I guess not. It's obvious. I'll knock that on its head. I think it started because over here in New York people say "Sidebar" when they want to head off on a conversational tangent. It's interesting when conversation picks up self-conscious literary tropes - except for the bunny ears quotation marks fingers thing, as they're never used to designate quotations, which is just annoying. I wonder if I should start saying (parenthesis) in conversation. Probably not.]

Remember when the Segway Personal Transporter was referred to as IT, or Ginger, and people suggested it was going to change the world, and speculation about it got so intense the inventor had to release a statement to people saying it wasn't really all that? The curiousity gap in effect. That's what's so inspired about JJ Abrams Mystery Box idea - revealing what's in the box will always be a disappointment. Especially when it's a gyroscopic scooter.]

Once again the proceeds of the book will be going to Variety - so this is officially a GOOD THING - and this time around 275 very nice smart marketing adverblogger people have offered words - so there's guaranteed to be some great stuff in there, despite my contribution.

Here are the assembled volunteers:

Adam Crowe, Adrian Ho, Aki Spicer, Alex Henault, Amy Jussel, Andrew Odom, Andy Nulman, Andy Sernovitz, Andy Whitlock, Angela Maiers, Ann Handley, Anna Farmery, Armando Alves, Arun Rajagopal, Asi Sharabi, Becky Carroll, Becky McCray, Bernie Scheffler, Bill Gammell, Bob Carlton, Bob LeDrew, Brad Shorr, Bradley Spitzer, Brandon Murphy, Branislav Peric, Brent Dixon, Brett Macfarlane, Brian Reich, C.C. Chapman, Cam Beck, Casper Willer, Cathleen Rittereiser, Cathryn Hrudicka, Cedric Giorgi, Charles Sipe, Chris Kieff, Chris Cree, Chris Wilson, Christina Kerley (CK), C.B. Whittemore, Clay Parker Jones, Chris Brown, Colin McKay, Connie Bensen, Connie Reece, Cord Silverstein, Corentin Monot, Craig Wilson, Daniel Honigman, Dan Goldstein, Dan Schawbel, Dana VanDen Heuvel, Dan Sitter, Daria Radota Rasmussen, Darren Herman, Darryl Patterson, Dave Davison, Dave Origano, David Armano, David Bausola, David Berkowitz, David Brazeal, David Koopmans, David Meerman Scott, David Petherick, David Reich, David Weinfeld, David Zinger, Deanna Gernert, Deborah Brown, Dennis Price, Derrick Kwa, Dino Demopoulos, Doug Haslam, Doug Meacham, Doug Mitchell, Douglas Hanna, Douglas Karr, Drew McLellan, Duane Brown, Dustin Jacobsen, Dylan Viner, Ed Brenegar, Ed Cotton, Efrain Mendicuti, Ellen Weber, Emily Reed, Eric Peterson, Eric Nehrlich, Ernie Mosteller, Faris Yakob, Fernanda Romano, Francis Anderson, G. Kofi Annan, Gareth Kay, Gary Cohen, Gaurav Mishra, Gavin Heaton, Geert Desager, George Jenkins, G.L. Hoffman, Gianandrea Facchini, Gordon Whitehead, Graham Hill, Greg Verdino, Gretel Going & Kathryn Fleming, Hillel Cooperman, Hugh Weber, J. Erik Potter, J.C. Hutchins, James Gordon-Macintosh, Jamey Shiels, Jasmin Tragas, Jason Oke, Jay Ehret, Jeanne Dininni, Jeff De Cagna, Jeff Gwynne, Jeff Noble, Jeff Wallace, Jennifer Warwick, Jenny Meade, Jeremy Fuksa, Jeremy Heilpern, Jeremy Middleton, Jeroen Verkroost, Jessica Hagy, Joanna Young, Joe Pulizzi, Joe Talbott, John Herrington, John Jantsch, John Moore, John Rosen, John Todor, Jon Burg, Jon Swanson, Jonathan Trenn, Jordan Behan, Julie Fleischer, Justin Flowers, Justin Foster, Karl Turley, Kate Trgovac, Katie Chatfield, Katie Konrath, Kenny Lauer, Keri Willenborg, Kevin Jessop, Kris Hoet, Krishna De, Kristin Gorski, Laura Fitton, Laurence Helene Borei, Lewis Green, Lois Kelly, Lori Magno, Louise Barnes-Johnston, Louise Mangan, Louise Manning, Luc Debaisieux, Marcus Brown, Mario Vellandi, Mark Blair, Mark Earls, Mark Goren, Mark Hancock, Mark Lewis, Mark McGuinness, Mark McSpadden, Matt Dickman, Matt J. McDonald, Matt Moore, Michael Hawkins, Michael Karnjanaprakorn, Michelle Lamar, Mike Arauz, Mike McAllen, Mike Sansone, Mitch Joel, Monica Wright, Nathan Gilliatt, Nathan Snell, Neil Perkin, Nettie Hartsock, Nick Rice, Oleksandr Skorokhod, Ozgur Alaz, Paul Chaney, Paul Hebert, Paul Isakson, Paul Marobella, Paul McEnany, Paul Tedesco, Paul Williams, Pet Campbell, Pete Deutschman, Peter Corbett, Phil Gerbyshak, Phil Lewis, Phil Soden, Piet Wulleman, Rachel Steiner, Sreeraj Menon, Reginald Adkins, Richard Huntington, Rishi Desai, Beeker Northam, Rob Mortimer, Robert Hruzek, Roberta Rosenberg, Robyn McMaster, Roger von Oech, Rohit Bhargava, Ron Shevlin, Ryan Barrett, Ryan Karpeles, Ryan Rasmussen, Sam Huleatt, Sandy Renshaw, Scott Goodson, Scott Monty, Scott Townsend, Scott White, Sean Howard, Sean Scott, Seni Thomas, Seth Gaffney, Shama Hyder, Sheila Scarborough, Sheryl Steadman, Simon Payn, Sonia Simone, Spike Jones, Stanley Johnson, Stephen Collins, Stephen Cribbett, Stephen Landau, Stephen Smith, Steve Bannister, Steve Hardy, Steve Portigal, Steve Roesler, Steven Verbruggen, Steve Woodruff, Sue Edworthy, Susan Bird, Susan Gunelius, Susan Heywood, Tammy Lenski, Terrell Meek, Thomas Clifford, Thomas Knoll, Tiffany Kenyon, Tim Brunelle, Tim Buesing, Tim Connor, Tim Jackson, Tim Longhurst, Tim Mannveille, Tim Tyler, Timothy Johnson, Tinu Abayomi-Paul, Toby Bloomberg, Todd Andrlik, Troy Rutter, Troy Worman, Uwe Hook, Valeria Maltoni, Vandana Ahuja, Vanessa DiMauro, Veronique Rabuteau, Wayne Buckhanan, William Azaroff, Yves Van Landeghem


Yo Bum Rush The Show

Bum_rush

I've summoned the spirit of Chuck D and Flavour Flav to encourage you to buy the Age of Conversation today, if you haven't already and were thinking of doing so at some point.

It's gone on sale on Amazon, which will hopefully get it to a wider audience, and so make more money for Variety the Children's Charity, which is a GOOD THING.

Some of the architects [and friends of] the book have organised a bum rush today to push the thing up the Amazon charts in the hope of capitalising on cumulative advantage and, well, selling even more copies, to make more money for Variety.

So go and do it. It's good for you.

And each chapter is only 400 words, making it ideal for reading in the smallest room.


Pengrin: Non Linear Narrative

Pengrin

The ever experimental dudes at publisher Penguin UK have something new brewing.

Ever since the emergence of the idea of hypertext, literature geeks [like myself] have been thinking about how non-linear narratives might be constructed.

You don't need clickable links to be hypertextual - Nabokov's staggeringly brilliant Pale Fire is a non-linear novel of sorts, where the exegetical footnotes to the preliminary poem are themselves the [meta]narrative.

But if you believe, as I do, that the generation that has grown up naturally creating their own hypertextual narratives as they click their way through the web, that transmedia narratives that leverage the true media behaviours of this generation are coming to the fore, and that people should read more in general because reading is for awesome people, then the time is ripe for another pop at hypertextual literature.

Jeremy has put a teaser post up on the Penguin blog, which suggests they might be up to just that, and with Dan Hon / Sixtostart, masters of the ARG, involved the results are bound to be interesting.

Go sign up here and see what's through the looking glass.


Green is Normal

Green_normal

I went down to AKA last night for the launch of John Grant's new Book - The Green Marketing Manifesto.

It was great fun - saw some of the usual suspects, met a few lovely new people, and generally messed about. Although moving on to the End afterwards for raving has made today challenging.

John always staggers me with how he doesn't seem to have notes or anything prepared and then can just talk for 40 mins and sound brilliant. It's such a useful skill - I'm lost without my PowerPoint.

Anyway - the book is going to be awesome - and John is doing a blogger outreach - free books for links - that I'm now claiming as I didn't pick one up last night.


Interesting Snippets

Snippets

The lovely Lynette has possibly the coolest job in the business - Director of Futures for Google UK.

As Alan Kay said, the best way to predict the future is to invent it and Google is one of the few companies that can lay claim to actually doing so.

Lynette has been sharing her Interesting Snippets via Flickr for a year or so now - they are basically ready made slides to steal looking at the impact of digital - and she's compiled the first year into a book via Lulu, the proceeds of which are being donated to the Battery Hen Welfare Trust.

Ideal stocking filler for that special planner in your life.


Another Sky - Neo-Patronage

Another_sky

So I posted about book sampling, which led me to Cooking with Booze, which led Neil to point me at Daisy Bennett's' unpublished manuscript, which she is trying to get published by crowd sourcing on facebook and blogging and that.

But, as Neil points out in his post, there are loads of interesting experiments in publishing happening at the moment, one of which my mate Carlos showed me today.

Another Sky is a new kind of publishing company:

At Another Sky Press we do things a little differently. In addition to making our books available for free online, copies of our books are sold at cost plus optional contribution. 100% of contributions go directly to the individuals involved in the project. If you dig us, please spread the word.

They call this neo-patronage: you decide how much something is worth after you've experienced it and if you can't afford it, that's fine:

Art should be for all, not for those who can afford it. Contribute when you can, if you can. Don’t feel guilty if you can’t contribute to every artist who you’ve enjoyed. Instead, be proud to contribute at a level that is comfortable to you both ethically and financially.

[Don't you just want to give them money?]

A model recently mainstreamed by Radiohead.

Inevitably with this model you encounter a version of the free rider problem, but I'd like to believe that kindness and decency that lies beneath this distributed patronage isn't a fallacy:

Everyone that puts out a project via Another Sky Press believes in you. We want to share what we create with you and with everyone. With your support we believe we can make the world a better place - one in which art defies commerce yet still manages to put some food in the belly of the artist.

We want everybody to win.