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Big Orange Slide

Thursday, February 23rd, 2012

The Cave

May 31, 2011 by Jacoub Bondre

Illustration by Nancy Ng

The Allegory of the Cave centres around a group of prisoners that have spent their lives completely disconnected from the outside world. They live chained to a wall, assigning meaning to shadows cast on the blank walls they face. The only one who is able to determine that the shadows are not absolutely real is the prisoner that escapes the cave. He returns to share his experience of new truth. It’s a Greek story, so you can probably imagine that he ended up paying for it in a nasty way!

I think of this parable when I think about the communication revolution that is upon us. People in any industry with a “steady as she goes” mentality are the ones who are the ones staring at the shadows on the walls. Those who have escaped know inherently that you can’t just add “digital” to a list of media. Not anymore.

I’m treading familiar territory when I state that we live in an on-demand digital culture. It has struck hard at the music industry and film community. My family’s TV consumption comes through our computers, iPads and Netflix on my PS3. It’s entirely on demand. So much so that my boys have pretty much stopped watching “TV” entirely.

That brings us to the business of persuasion. I previously wrote about the concept of on-demand advertising. While we can’t fully satisfy the “when we want it” theory, I believe there are ways to implement the “where we want it.” I’ll share some of my own conclusions, and I hope that it doesn’t get me killed like that guy in the cave.

1. Creative alone cannot save you.

The current thought is that the “big idea” is the most important part of a successful campaign. The trouble is, not all ideas can play well in any medium. Creative concepts are something to add to the marketing mix. They still play a huge role in audience outreach, but they aren’t a solve-all superhero. You can only make a full emotional connection by understanding where your audience is and what they are doing.

2. Advertising’s new role is to make a social connection with the audience.
That isn’t to say that this is an article about how everyone should be on Facebook. But if advertising is intended to win a consumer over to the point of recommending a product or service to a friend, you realize that the facilitation of word of mouth is just as important as the brand message.

3. There’s no such thing as general audiences.
Connecting emotionally is important, but nuanced behaviour is just as important. As advertisers, our first order of business should be to break down our “demographics.” We can’t lump 19-35 year old males into one group.  There is more than one cultural thread that ties people to a brand.  What we need to do before any campaign is find one or two cultural threads that tie that group together.  And it can’t be something broad like “hockey” as every region or group celebrates larger cultural phenomena in different ways.  It needs to be more fundamental than that.

4. Everyone is creative.

According to Seth Godin’s book “Linchpin: Are you Indispensable?”, our creativity is trained out of us in our school systems. As children all we have is our imagination, and all we do is build and break.  Create and destroy.  Well, at least here in Canada that is no longer the case.  From my own experiences, I believe that children are no longer taught compliance and regurgitation but are encouraged to think critically and creatively.  The result is an emerging workforce of creative and critical thinkers. Agencies that embrace this are given a real competitive advantage.

Everyone in an agency – from creative teams and studio to strategists – have a responsibility to think about how what they are making will be used, and whether it will create the real social connections that our brands need.

What we want consumers to “take away” should be secondary to taking the time to delve into who we are talking to and what they want to talk about. When your consumer feels like you are willing to listen to them, talk about their hobbies, desires and organizations they want to support, they will be much more open to hearing about the  marketing message of their brand.

We need to educate and work closely with our clients to help them understand the changing landscape of society, the market and communication.  These shifts affect way more than advertising.  They will affect every industry and every market, as the power behind communication and distribution spreads.

What do you look for in a Creative Director?

May 30, 2011 by Big Orange Slide

Please leave your response in the comments section below

Dead celebrity society

May 26, 2011 by Steven Hudak

Illustration by Nancy Ng

One of the things that sets humans apart from animals is that we mourn our dead. How we do it may take strange or perverse forms. We may sometimes stoically send them over a waterfall in a canoe like Norse warriors, or hold a good ol’ Irish wake and add a few brain cells to the body count. Either way, the way we pay tribute to our dead is inevitably tied to tradition, or the belief that recently departed would approve of the means of farewell.

That is, unless you’re a celebrity.

It seems like dead celebs can’t get no respect (R.I.P. Rodney Dangerfield). I’ve seen the estates of famous artists scratching at the dirt for a few dollars more. I’ve seen icons with their faces adorning cheap merch for teens. In most cases, the estates benefit from what amounts to found money – with the possible exception of Che’s family, who likely don’t see royalties from the millions of t-shirts bearing his likeness.

My earliest brush with this phenomenon was in a Superbowl commercial in which Fred Astaire danced with a Dirt Devil. I remember being impressed by the technology that allowed the interweaving of celluloid and CG. However, I also remember feeling a bit sick that the dancing great’s image had been pillaged for profit. I had no direct ties to Fred, wasn’t particularly moved by any of his movie roles or his dancing prowess. But there was something about the whole thing that didn’t sit well. And it seemingly didn’t sit well with his widow either. In 1999, the Dirt Devil spot inspired the “Astaire Bill,” which ensured that those seeking to use a dead celebrity’s likeness have to demonstrate that their usage is protected by the First Amendment.

The next attack came ten years later. This time the victim was Jimi Hendrix. No, not from a shadowy Chinese company professing that his blood was in the finish of a cheap Stratocaster knockoff, but for an energy drink.

However, the catalyst for this article was to be found in the vintages section of the LCBO: Frida Kahlo Tequila. Next to a self-portrait (in which she has cut her chest open and is bleeding onto herself) is a missive which reads that the brewers, “[i]n cooperation with the Kahlo family estate, [has] produced this superb tequila name after Mexico’s most renowned artist.” I can’t tell if this is a grand gesture or somewhat tragic. “One sip, and you’ll know you’re enjoying the very essence of originality.”

To be fair, the shilling of posthumous likenesses may not always fall far from the individual’s original vision. Would Jerry Garcia or Bob Marley balk at their popularity in head shop window displays? Conversely, Disney is getting its new line of action figures out for Christmas: Seal Team 6 (the team that killed Osama Bin Laden). So where is the line? Can a reptile pet shop call themselves “The Lizard King” and use Jim Morrison’s likeness? Should Salvador Dali push paint-by-number kits? Kurt Cobain for Smith and Wess0n? Gandhi for Soldier of Fortune magazine? Nickelback for the Royal Conservatory of Music?

I have been accused of being sentimental at times. But I’d like to think my reaction is less a question of sentimentality and more a question of respect. But I’ll leave it to you to tell me, am I being too sentimental, or is branding the dead a viable marketing opportunity?

Simple. But effective.

May 25, 2011 by Randy Stein

Illustration by Brian Ross

I was in the car the other morning listening to the radio – as I always do on my way into work – when two familiar radio ads ran back-to-back.  One was for a local audio equipment store (Bay Bloor Radio) and the other for a local men’s shop (Korry’s).  Both of these spots were familiar because they’ve used the exact same format for years. Frankly, perhaps even for decades. In both cases, the simple format involves a tried-and-true model: owners of the shop talking passionately about their store’s products and/or service.

I’m not going to argue that these are “creative” ads. Far from it. If, on the supremely unlikely chance the owners had a mind to enter them into an ad awards show, they’d likely not make it past the first round. Assuming they weren’t laughed out of Cannes or Santa Clara first.

But here’s the rub: these spots are effective.  Really, really effective.

Needless to say, this got me questioning why.  What do they accomplish that so few of us have been able to achieve? Why do they stand the test of time, seemingly never get old, and still manage to be mind-bogglingly effective? Is it because they are localized to one location and hence have the ability to talk personally about their product in a way a large advertiser can’t credibly do? Have the rest of us just stuck to the same message for so long that we believe it?  Is it something else?

To be honest, I’m not sure.

What I do know is that it works.  At the end of the day, any good advertiser would rather increase profits than their award show haul. Which also gets me to thinking that if award shows aren’t judging long-term, sustained effectiveness,  what are they judging?

I suspect that’s the subject for another post.

Pay no attention to the man behind the curtain

May 24, 2011 by Leilah Ambrose

Illustration by Brian Ross

“A writer’s style reveals something of his spirit, his habits, his capacities, his bias…it is the Self escaping into the open.”
E.B. White

Advertising is a circus of the brilliant and the weird. Yes, there’s frustration. Yes, days of apathy and fury. Weeks on end when a hapless Hermann Miller stands to make quick friends with a plate glass window. But muzzle the tragedy for a moment discover the undeniable: you are being paid to come to work and collaborate with talented, multi-faceted folk. You have clients willing to invest their business in your judgment and skills. Your job description requires that you play, poeticize and colour for a living.

And yet, a healthy percentage of chartered creatives (myself included) have this wild idea about making things for themselves. Things that feel authentically theirs. Which inevitably ushers them into a cage match with two intimidating questions: “where do I begin?” and “does this feel forced?”

In my previous life at a design studio, my employer hung a large-scale typographic piece in the reception. It was a quote from composer John Cage, who said that not knowing where to begin is a common form of creative paralysis. His response: Begin Anywhere.

Over the years, I’ve internalized that thing and drawn a conclusion: in advertising, beginning anywhere means you get to work another day. So for my part, the second question is the more torturous.

Writing of any type is far more arresting when there is a unique personality behind the words. But consider for a moment that copywriters spend every day attempting to marry their individual style with a brand voice. It’s a career that celebrates creativity, but demands that it be adapted to meet business objectives. While an element of humanity is necessary to make copy sing, you still need to ensure that you ’sound’ like the brand or service you represent. It’s a style of writing that demands pliancy. Even if you have little personal experience with your product or service, you have to be a convincing voice box for it. Nowhere in my experience was this more apparent than when I was tasked as a junior to develop a website for Ontario hunters. The site required the typical admixture of romance copy and detailed information on things like how to correctly and legally “tag” your trophy beast. The client was adamant: I had to sound authoritative and respectful to the wilderness, but with a hint of “git ‘er hunted.”

Now, I’m a die hard carnivore, but hand me a knife and a dead moose and you’d have a quick glimpse of my degree of “authority.” However, I still had to do my damndest to sound convincing and compelling. That’s the copywriter’s lot.

Now, recognizing that there’s inherent struggle doesn’t make the process of developing your own voice any simpler. The topic has been covered by writers and academics for decades. The shadowy “voice” is something that requires huge effort, and will always fall prey to self criticism. I’m the first one to put my writing projects on the chopping block. They haunt me. I struggle with my copywriter habits: analyzing every word for accessibility, individuality and charm. Wondering whether it feels forced, whether the tone and manner is appropriate, or whether its generally good enough to bypass my internal critic for public consumption. Most fearfully, whether it has that as-yet undefined “me-ness.” Ironically, the copywriter in me has become the writer in me’s worst enemy.

I wonder whether it’s an occupational hazard. In attuning ourselves to “sounding like” our brands, we may neglect the legwork necessary to break through the camouflage layer of copywriting to develop a fresh voice. The kind of voice that you comes when you aren’t working to a brief. Or a work back. Or a demographic. It’s a process to strip back to that creative part of you that decided to give professional writing a go in the first place. But, as with anything, the most frightening journeys are the ones most worth taking.

Big Orange Banter – Volume 1

May 19, 2011 by Big Orange Slide

A few weeks back, we caught up with some of the world’s leading digital thinkers at FITC 2011. We asked some questions. Had some laughs. And made some videos to share with Big Orange Slide readers. Here’s the first installment, with Tali Krakowsky and Jason Theodor.

So long, long copy?

May 17, 2011 by Trevor Gourley

Illustration by Joel Holtby

Like a lot of copywriters, I have a soft spot for long copy. When I see a carefully crafted prose rife with literary reference and rhetorical devices, the English student in me gets giddy. It harkens back to the early days of advertising when Ogilvy and Bernbach were writing brilliant body copy and reinventing the kinds of stories an ad could tell.

But the path of the copywriter is beset on all sides by detractors. “No one reads copy!”  Let me tell you, every time someone says that, a copywriter fairy dies. In an era of interactive, visual metaphor and copyless ads, is writing on the decline in advertising?

Some think so, but there are those that believe interactive is primarily a writer’s medium. Cundari’s recent 18,001 pixel banner for BMW suggests that those people might just be right

As ever, a resonant and evocative idea will make people want to read your copy. Despite the fact that he said it almost 50 years ago, the oft-quoted real life “Mad Man” Howard Gossage hit the nail on the head(line):

“People read what interests them, and sometimes it’s an ad”

So what do you think? Is long copy going the way of the dodo, or will it experience a revival in the digital space? Share your thoughts and your favourite pieces of long copy in the comments.

Zen and the art of plastic model car making

May 16, 2011 by Jon Finkelstein

Illustration by Josiah Bilagot

If you’re reading this, you already know that advertising is a tireless business. Ideas. Deadlines. Revisions. That’s the circle of life. But it’s recently dawned on me that advertising is actually one of the few creative endeavors I can think of where you don’t really use your hands to create. To do my job well, it’s all brain — typing doesn’t count as using my hands. And while I enjoy watching ideas come to life in whatever ad format we choose, it’s a different feeling than, say, painting, woodworking, or sculpting. And I like that feeling.

I’ll be honest though. I suck at woodworking, painting, and sculpting. But I do use my hands for another creative endeavor: scale model car building. There’s no grand psychologically-charged reason behind it; I don’t do it to reconnect with my inner-child or anything. I do it because it’s fun and I really enjoy the detailed step-by-step process. It’s methodical but allows for creative expression. Do I stick to the stock build sheet? Do I customize? How much can I super-detail? And with every model, my skills improve. I can see it.

You see, this is my project. Something I make by myself, for myself. There are no clients or focus groups. There are no chains of command. It’s making for making’s sake, and there’s something spectacularly simple and fulfilling in that. I think that all creatives need to take the odd opportunity to reaffirm that they are, after all, “makers” in the end. That they have it in them to see a concept through to completion under their own steam. It doesn’t need to be big, or groundbreaking, or public. Just something of their own. My cars give me that leeway, and the focus and calm that comes from being creatively accountable to myself.

Model making allows me to unwind, to turn off, and to unplug from modernity. When I am airbrushing a car body, scratch building a wiring harness, or using flocking to make realistic carpeting, my mind goes blank. In a good way. It’s these moments of “blankitude” that allow me to empty my brain so I can focus on advertising problems later.

I think this is key, at least for me. We all have so much stimuli in our lives, it’s difficult to maintain any perspective. Really difficult. It’s as important to be tapped in as it is otherwise. And it’s important to find creative outlets that nurture your soul beyond your day job.

In the end, maybe it is sort of nerdy to apply myself to making plastic models as realistic as I can. I get that. But after each model car “working session” I have progress to look at. It may be small, incremental progress, but it’s there nonetheless. And that makes me feel good.

How would you describe social media to your grandmother?* (In 10 words or less)

May 12, 2011 by Big Orange Slide

Please leave your response in the comments section below

*(Assuming your Nana isn’t digitally savvy already. Which is clearly a possibility. We don’t want to dismiss the possibility that she’s hip to the trends.)

How all brands can leverage social media, and why they should

May 11, 2011 by Jacoub Bondre

Illustration by Nancy Ng

Before I get started, I want to be clear: there isn’t only one way to leverage social media for a brand, but it applies to all brands.

In the 1950s, a man named Sam Walton ran a general discount store called Walton’s Five and Dime.  Sam had a simple strategy, and with it had built a good track record for running successful retail establishments: undercut his competitors on price, and deliver unparalleled customer service.

See, Sam knew that the key to retail in the 50s and 60s was personal relationships. Barbers, doctors and general store owners would be on a first-name basis with their core customers. It sounds a little “Leave it to Beaver,” but honest-to-goodness understanding of the customer was integral to business. Sam got that. That’s why Wal-Mart has greeters.

Anyone who runs a business still ostensibly knows that strong relationships are good for business. Even on a B2B basis, sharing a few beers with a client now and again breeds a familiarity that allows both parties to have uncomfortable conversations at a later date, without damaging the business relationship. But as brands continue to explode in size, a meaningful relationship with the end consumer can be challenging to sustain.  It’s not just about the relationship at point of purchase.

Every one of us has felt railroaded by the dreaded “I’m sorry sir, that is our policy.” Anyone who has spent any time in the service industry intimately knows the effect those words can have on a consumer who is obviously looking for a solution. When a client of ours has a problem, our first order of business is to solve it.  Sometimes that means bending or even breaking internal policies around timelines, billing or scheduling. In fact, while I was Director of Production, a flagged issue was met with a question: “Is the client happy?”

For lack of a better term “shit happens.” But while the shit gets fixed, it’s still possible to ensure that your client feels taken care of.

If a consumer has a strong relationship with a brand, they will be more likely to excuse a poor experience and maintain the relationship.

So how do brands build that relationship?  Social Media is currently the most powerful tool, and is also the easiest to implement. It’s not just about flipping the marketing funnel. While Joseph Jaffe advocates leveraging key influencers through social media to maximize your marketing budgets, I would suggest that to be a top-down approach to a bottom-up medium. The “socialness” of Social Media comes from the consumers, who would be far happier with access to key influencers within the company.

Let’s look at two brands that have taken similar approaches to maintaining their consumer relationships: ironically, Apple and Adobe. Apple has recently been named the most valuable brand in the world, and yet they seem to avoid the ire of the anti-capitalism movement.  Why? They have Steve Jobs. Jobs seems bulletproof, saying what he wants, when he wants with little consequence. However secretive he may be about his product, Steve is accessible. Anyone can email him and anything can happen in the industry, and chances are Jobs will have a quip in response. Sure, it’ll likely be the type of thing that would send most PR managers onto the ledge, but it’s a genuine connection with his brand stewards and loyal customers.

Meanwhile, Adobe has a very liberal approach to corporate-consumer relations, handing their key influencers the keys to the city. Brand managers to evangelists, advocates to community forums, all have influence over the offerings the company produces. Adobe has even plucked some their influencers and handed them jobs.

Both of these companies have developed a zealot-like brand following, which frankly makes the clash between these two silicon giants that much more entertaining.

All brands can achieve this level of relationship with their consumers with two keys strategies:

1)   Allow direct access

It could be a Twitter account or blog posts, but the heads of departments, and executive members of a company should participate in social media. These senior members of your company should be prepared to have real conversations with their clients and consumers.

2)   Empower outreach

Create a group of community managers within your company, and/or hire an agency or PR firm with real social media experience. Then have key influencers in your company meet with these managers on a regular basis, and give them real seniority to influence the direction of the company.

Some might think giving consumers that much access to your company could be dangerous, but we aren’t talking about divulging business strategies. What we are talking about is forging the same respectful relationship that a consumer might have at a Mom & Pop establishment. Put the human face back onto your company or corporation. Remind the average consumer that your company is a collection of people, and not a large, faceless machine.

That is how social media can be used for brands, and why all brands should use it.  It is the ability for large brands to develop personal relationships with consumers, and to create a brand loyalty that transcends expected points of interaction.