The final installment of my exploration of Bruce Springsteen’s Wrecking Ball and its relevance to branding social justice movements all over the world.

Song/Branding Tip #11: We Are Alive
Branding social justice is as much about recognizing historical continuity as it is living in the moment and creating something new. A struggle that honors the past carries a richer and more engaging promise for the future.

In We Are Alive, the album’s closing track, Springsteen celebrates the illustrious legacy of social justice movements, joyously tracing the ghosts of struggles past by giving them a platform to inspire today’s generation:

“A voice cried out, I was killed in Maryland in 1877
When the railroad workers made their stand
Well, I was killed in 1963 one Sunday morning in Birmingham
Well, I died last year crossing the southern Desert
My children left behind in San Pablo
Well they left our bodies here to rot
Oh please let them know”

Far from being dead and defeated, these voices are vibrant, relevant and very much alive:

“And though our bodies lie alone here in the dark
Our spirits rise to carry the fire and light the spark
To fight shoulder to shoulder and heart to heart
To stand shoulder to shoulder and heart to heart
We are alive”

Afterword

These are not the songs of a revolutionary nor are they the frivolous demands of an angry young man. To be sure, Springsteen is pissed off and far removed from the relative optimism that marked 2008’s Working on a Dream at the dawn of the Obama era. But his message is not one of revolution and his tone is far removed from desperation. These are songs of pride and self-affirmation, of simple men taking stock of an increasingly complex world. It’s calling out the bad guys and praising the good ones for fighting the good fight. It’s an honest, look-me-in-the-eye appraisal of our fragile social fabric sung by a man old enough to have seen it all.

There is no retreat, baby, no surrender – just the stubbornly confident voice of a man comfortable enough in his own skin to express his dissension and grievances with joyful clarity. Wrecking Ball is a respectful nod to the traditional vernacular of folk-protest songs laced with plenty of soulful musical idioms and assertive rock and roll swagger to keep it contemporary and timeless. This is very much an album for the ages, a well-balanced emotional branding campaign for a worthy movement that is still struggling to define its voice. 

As always, Bruce is here to give us the soundtrack.  And perhaps in the ongoing quest for social justice, we all need to heed the Boss’s words of some 35 years ago from his epic album Darkness on the Edge of Town: “keep pushin’ ‘til it’s understood and these Badlands start treating us good…”

Summer’s almost here and the time is right for dancing in the streets. So let’s shed the shackles of This Depression and go out and make a joyful noise. And be sure to bring along your wrecking ball; there’s much that needs to be torn down and rebuilt if we are to lay the foundations of repair and extend the bridges of reconciliation in our society. We’ll call it out around the world and let all them Fat Cats hear it loud and clear: From here on end, We Take Care of Our Own.

Part #4 of my exploration of Bruce Springsteen’s Wrecking Ball and its relevance to branding social justice movements all over the world.

Song/Branding Tip #8: You’ve Got It
Sex sells. However you choose to engage your audience with your brand, stay sensual, edgy and just a bit raw.

No, I would ordinarily never confuse a chorus as overtly suggestive as “Baby you’ve got it…C’mon and give it to me” as anything other than a seductive come-on. But then again, how does one read these seemingly banal lyrics on such a socially-conscious album without reconsidering their intention? Perhaps the Boss is simply expressing longing for the conviction of true believers, the ones that have the God-given ability to stay the course:

“Ain’t no one can break it/ Ain’t no one can steal it
Ain’t no one can fake it/ You just know it when you feel it
And baby you’ve got it/ baby you’ve got it
C’mon and give it to me”

Song/Branding Tip #9: Rocky Ground
Leadership and a clear agenda are two foundations without which no brand can stand.

Opening with the repeated scratchy cry “I’m a soldier” Rocky Ground comes across as a somber military march through humanity’s shared yearning for salvation: “Rise up shepherd, rise up/ Your flock has roamed far from the hill”. Filled with biblical references (“Forty days and nights of rain washed this land”; “Jesus said the money changers in this temple will not stand”) he warns that “we’ve been traveling over rocky ground”, challenging our leaders to lead us all back to a more equitable path: “Find your flock, get them to higher ground/The floodwater’s rising and we’re Canaan bound.” The solemn, sad, and sweet-tinged promise of “there’s a new day coming”is delivered as a softly hopeful prayer against the harsh contrast of “the bottom’s dropped out/ where you once had faith, there is only doubt.”

Song/Branding Tip #10: Land of Hope and Dreams
Social justice movements are branded in fire. Ignite the flame in people’s hearts and use its light to guide them perpetually forward. But be sure to guard its essence carefully lest it all burns out and goes up in smoke.

Trains have always served as one of the great metaphors in American song, a vehicle for expressing hope and redemption, escape and exodus, life and the afterlife. Springsteen’s Land of Hope and Dreams makes liberal use of its powerful imagery, a soaring gospel steam engine that chugs its way into your heart from the first listen. Lyrically, it engages in a very reverent conversation with the great Curtis Mayfield ‘65 soul classic People Get Ready. Mayfield delivered his rallying cry to spiritual awakening and social responsibility amidst the tumult of Vietnam and the civil rights movement. The Boss finds strong parallels in our own era of social and economic upheaval, in which our fundamental beliefs and values are all coming under scrutiny. He beckons us all to “get on board” (“you don’t need no ticket”) and embark upon an emotional journey to a better life:

“This train…Carries saints and sinners
This train…Carries losers and winners
This train…Carries whores and gamblers
This train…Carries lost souls
This train…Dreams will not be thwarted
This train…Faith will be rewarded
This train…Hear the steel wheels singin’
This train…Bells of freedom ringin’
This train…Carries broken-hearted
This train…Thieves and sweet souls departed
This train…Carries fools and kings
This train…All aboard”

In a recent interview, Springsteen characterized his own artistic journey as an attempt to “judge the distance between American reality and the American dream.” For 40 years, that gap has been faithfully bridged by the locomotive power emanating from Clarence Clemons’ tenor saxophone. Where Springsteen posed questions, Clemons answered in a voice that always resonated with truth and clarity. Land of Hope and Dreams marks his final statements, two beautiful solos that ring with sheer emotion and gorgeous simplicity, the signature sound of a true rock and roll original. Rest in peace, Big Man; your train rolls on forever.

Next up: We Are Alive; Final note…

Part #3 of my exploration of Bruce Springsteen’s Wrecking Ball and its relevance to branding social justice movements all over the world

Song/Branding Tip #5: Death to My Hometown
Everyone will take notice of a brand that chooses to dance joyously through its anger. It engages seductively without being preachy, empowers without going on too much of a power trip. 

You can’t listen to Death to My Hometown outside the context of My Hometown, a Springsteen classic from the Born in the USA album, released in ‘84. The older song paints a portrait of small-town America ravaged by racism and Reaganomics. Its voice is sentimental and its deflated protagonist ponders gathering his family and quietly moving elsewhere. In contrast, Death to My Hometown is full of humor and bravado, a wild Irish jig that grabs you from the first beat of its infectiously danceable rhythm. A tale of a town ravaged by greedy “vultures (who) picked our bones”, it refuses to concede defeat, pointing fingers at the culprit and calling for stubborn defiance:

“So listen up, my Sonny boy/ Be ready when they come
For they’ll be returning sure as the rising sun

Now get yourself a song to sing/ and sing it ’til you’re done
Yeah, sing it hard and sing it well/Send the robber barons straight to hell
The greedy thieves that came around/ And ate the flesh of everything they’ve found
Whose crimes have gone unpunished now/ Who walk the streets as free men now”

Branding Tip #6: This Depression
Solidarity, empathy and the emergence of community build the tribe and make the brand. Any brand. 

The brooding, musing nature of This Depression has double entendre written all over it. The protagonist who has “had my faith shaken” and feels “down… lost” reaches out to his loved one for consolation, declaring: “this is my confession/in this depression, I need your heart”. Clearly, our reading of the song can focus on the simple and innocent declarations of personal turmoil. But it is more likely that Springsteen is being coy with us, taking the breakdown of an individual to illustrate the more collective sense of desperation and detachment experienced by millions in periods of economic depression. It’s not the heart of a lover needed here, but the heart of leaders with the courage to enact change.

Song/Branding Tip #7: Wrecking Ball
Sometimes the only way to move forward is to start over. Follow your roadmap, but don’t be too stubborn to tear it up and rebrand the movement if the strategy just isn’t working.

Wrecking Ball is an interesting choice of song for the title track, since its writing actually predates the conceptualization of this album. Originally intended as a sentimental farewell to Giants Stadium in New Jersey’s Meadowlands prior to its demolition in 2009 (hence the “wrecking ball” imagery), it serves well as a metaphor for the economic wrecking ball of greed and stupidity that is tearing down the delicate infrastructure of society, indiscriminately wreaking havoc and crushing the hopes and dreams of countless individuals and families.

Springsteen implores us cockily to “take your best shot/let me see what you got/bring on your wrecking ball”, while simultaneously appealing to our sense of reason, calling for self-control: “hold tight to your anger/and don’t fall to your fears”.  The incessant mantra “hard times come and hard times go…just to come again” repeated over and over, cuts like a knife, a heavy dosage of unadorned naked simplicity that sums up the cycle of the highs and lows of life…and allows the listener to emerge feeling cleansed …and hopeful.

Next up: You’ve Got It, Rocky Ground, Land of Hope and Dreams

Part #2 of my exploration of Bruce Springsteen’s Wrecking Ball and its relevance to branding social justice movements all over the world

Song/Branding Tip #2: Easy Money
Social protest movements always carry a certain overtone of lawlessness. Empty, idle threats usually miss the point and are counterproductive, but a bit of outsider cockiness and the veiled threat of real change-in-the-making have a way of making the fat cats take notice.

In Easy Money, Bruce celebrates the joys of petty theft in an age of grand larceny. It’s Main St. vs. Wall St., a cheerful Bonnie & Clyde tale of decadence and elegance, but it’s clear that the type of con-artist theft alluded to here is utterly insignificant in light of the greater crimes committed quietly in a market gone mad. A rollicking good tune, complete with fiddle and gospel choir, it underpins the eternal tensions between the have-nots and the have-far-too-much-to-care.

Song/Branding Tip #3: Shackled and Drawn
Conviction is the hallmark of any great social brand in the making. Celebrate your brand values with passion; carry the rock with pride.
   
Shackled and Drawn digs even deeper, a modern-day slave’s lament delivered with seductive enthusiasm against a musical background of folk rave-up. This is existentialism at its best; the working man content, proud and alive to bear the endless Sisyphean cross on his back of “pick up the rock son, carry it on.” He is enslaved not by the labor he endures, but by the lack thereof and the humiliation it inevitably brings:

“I always loved the feel of sweat on my shirt/ Stand back son and let a man work
Let a man work, is that so wrong? / I woke up this morning shackled and drawn”

The outgoing segue “I want everyone to stand up and be counted” delivered in the clear and inspiring gospel-tinged voice of an African American woman adds an overtone of bearing witness; a gathering exodus waiting to happen.

Song/Branding Tip #4: Jack of All Trades
Social justice brands that endure work robustly toward their goal while remaining sensitive to their own innately fragile nature. A balance of reality and retribution ultimately lead to a day of reckoning.

The reflective, slow-dance waltz time of Jack of All Trades brings down the energy levels from one of playful defiance to solemn acceptance. Our hero lives up to the song’s title, resigned to a life of doing whatever form of menial labor necessary to keep him and his loved ones afloat. His world weary attitude “use what you’ve got, learn to make due/ you take the old, you make it new” is steeped in submission. But just when you think he’s totally given in, the anger bubbling beneath the surface is revealed in the same matter-of-fact tone: “If I had me a gun/ I’d find the bastards and shoot ‘em on sight/I’m a jack of all trades/ we’ll be alright

Next up: Death to My Hometown, This Depression, Wrecking Ball

Like all its predecessors that have entered the collective soundtrack of our lives over the past 40 years, last month’s release of Bruce Springsteen’s 17th studio album, Wrecking Ball, demands to be listened to, relished and heeded. Its many rewards are quickly revealed.

Conjuring legendary troubadours from Leadbelly and Guthrie to Seeger and Dylan and borrowing respectfully from an illustrious tradition of folklore imagery and jargon, Springsteen paints his portrait of contemporary America by drawing from a palette of phrases that have been coloring every cry for social justice for well over a century. 

His America is a nation “trudging through the dark in a world gone wrong” filled with heroes that have all been “shackled and drawn”. They are a collection of “lost souls” victimized by the “fat cats” who look out condescendingly from their greedy perch up on “Banker’s Hill”.

While it continues a tradition of socially conscious work that Springsteen has put out over the years, from Nebraska to The Ghost of Tom Joad and The Rising, this album is in a league of its own, a musical tour de force in emotional branding that asks to enter into a dialog with the current wave of social justice movements sweeping across the globe and help define its tone of voice.

Woody Guthrie used to carry around a road-worn guitar with him that bore the chilling tongue-in-cheek declaration “this machine kills fascists” written across it in crude lettering. In similar fashion, the Boss takes no prisoners here. There is no place for indulging in flowery metaphor in an age of economic upheaval and widening social chasms. He implores us to bring on your wrecking ball in looking at the state of social justice in today’s society and does so himself with depictions that are lean, matter-of-fact and unapologetic.

Over the next few posts, we’ll take a look at Springsteen’s branding treatment of social justice, song by song.   

Song/Branding Tip #1: We Take Care of Our Own
Every movement needs an anthem, a brand promise that encapsulates its heart and soul and engages its audiences. Make it passionate. Own it. 

This is my personal plea to all politicians, left, right and center: Leave this one alone, please. It was bad enough when Ronald Reagan grotesquely adopted Born in the USA – perhaps the most chilling condemnation of post-Vietnam America ever expressed in song – as an expression of clean-cut, by-the-book patriotism. Too bad he never read the lyrics.

But on closer inspection, who can really blame him? Born in the USA was written as a stadium-ready, made-for-MTV, sing-along anthem. You felt good – even downright cheerful – singing a line like “Born down in a dead man’s town/the first kick I took was when I hit the ground”. By the time the chorus hit, with its wounded incessant wail of “Born in the USA”, you were in rock n’ roll heaven. But that approach of joyful pain has often typified Bruce’s special brand of storytelling: rock as liberation from tyranny; a purging of personal demons; an antidote to all ills; the ultimate catharsis. No one in his universe is overly remorseful or feeling too sorry for himself. You sing about what hurts and feel vindicated.

Similarly, We Take Care of Our Own, the opening statement of Wrecking Ball is easy to misinterpret. With its infectious melody, seductively rolling rhythm and repetitive mantra “We take care of our own/ Wherever this flag’s flown” one can almost believe for a moment that the Boss has written a patriotic hymn in praise of the red, white and blue. But on closer examination, it’s obvious that he is begging us to consider the failure of America in “taking care of its own” and posing some razor-sharp questions along the way. He sings of “stumbling on good hearts turned to stone” and laments that “the road of good intentions has gone dry as a bone”. And with the climactic repetition of “Where’s the promise from ‘sea to shining sea’?” Springsteen dispels any doubts as to his intentions, borrowing a phrase from the famous patriotic hymn America the Beautiful written by Katharine Lee Bates (1895):

“America, America!
God shed his grace on thee
And crown thy good with brotherhood
From sea to shining sea”

Clearly, the lost promise Springsteen sees in America, circa 2012, is that very same communal “brotherhood” that Bates had found so inspiring and praiseworthy.

Next up: Easy Money, Shackled and Drawn, Jack of All Trades

Damn this traffic jam

How I hate to be late

Hurts my motor to go so slow

Damn this traffic jam

Time I get home my supper be cold

Damn this traffic jam

Language is a powerful thing. So powerful, in fact, that sometimes the choice of a single word in communicating a brand message can be a defining moment in driving the brand confidently forward – or recklessly off a cliff. And in the case of Waze, a downloadable GPS application for mobile phones, one particular word proved to be a well-meaning wrong turn at the crossroads.

A true game-changing app, Waze is one of the smartest things to happen to your smartphone this side of freebie. It’s a truly indispensible travel companion for the road-weary traveler who, braving the endless broken white lines of the highway, desperately tries to twist his brain – or should I say HER brain (more appropriate for this post; patience, we’ll get there) – around a million possible routes in driving from point A to point B.

 With the very promising brand tagline “Outsmarting traffic, together”, Waze differs from other GPS applications in that it is a collaborative crowdsourcing interface – a real-time social network for commuters. Users are invited to report accidents, traffic jams, speed traps, and police stake outs and can even correct the odd mistake and update info on roads, landmarks, house numbers and more.

With 10 million users worldwide, the turn-by-turn companion speaks to you in your language and in the gender voice of your choice. When my wife and I downloaded the Hebrew version for Israel to our iPhones, we each chose to stay with our respective sexes. It’s more than simply choosing between male and female – it’s about hearing verb commands appropriately conjugated so that the driver is addressed according to his/her gender.

Let’s all honk our horns in praise of Waze on this point. For too long the male voice has been dominant in marketing communications, the accepted default in a male-dominated society. By instructing women where to drive in the female voice, Waze is definitely riding in the right direction. Just one small bump in the road to empowerment: Whereas the male gender version of a navigation route concludes with the declaration:, “You have arrived at your destination”, the female version declares more dramatically:  “You have arrived at your destination, stunning one”.

Mehamemet, the Hebrew term for “stunning” also translates as “amazing”, “astounding”, — and in a slang vein – as “gorgeous”. It takes its meaning from the root verb “lehamem” which means “to stun” or “stupefy”. So let’s consider this single word for a moment in its multiplicity of possible interpretations. Is this just meant as an innocent, straightforward compliment – and if so, why don’t men get the same treatment? Perhaps it’s just a tongue-in-cheek condemnation of the unfounded prejudices against women who are supposed to be clueless on the road? Or are they really just trying to say “You made it, gorgeous, and frankly we’re all stunned”?

Any lane you choose here will lead to a trip down the long and winding road of gender politics and this is where the ride gets really interesting: There has been a recent wave of complaints – lodged predominantly by men – claiming that the word is patronizing and treats women like little girls and demanding its immediate removal. The folks at Waze acquiesced, only to be lobbied by a petition of feminist women who demanded that the empowering phrase in praise of Israel’s “amazingly excellent female drivers” be reinstated.

The verdict? My wife informs me that based on her most recent Waze-powered journey she was indeed declared “stunning”. But hey, I could have told her that…

Bottom line: When it comes to driving the brand voice, keep your eyes on the road and by all means watch your language; a single word can lead to an unwanted detour — or as James Taylor puts it: “driving down the road to ruin…”.

Yes I’m going insane/laughing at the frozen rain

And I’m so alone/ Honey, when they gonna send me home?

Bad sneakers and a Pina Colada my friend

Stompin’ down the avenue by Radio City with a

Transistor and a large sum of money to spend

Ahh…nothing like the delightfully decadent and comically cryptic lyrics of a classic Steely Dan song to get the brand blog juices flowing. I admit, I have no solid idea what this particular tune penned by masters Donald Fagen & Walter Becker is really about, but it has a pleasant nostalgic feel to it and definitely plays on the always romantic notion of being young and down-on-your-luck in New York City. To my mind, the bad sneakers are the worn Converse All-Stars that tracked across the landscape of my youth, the pina coladas, the non-alcoholic kind that they sell on street corners at hot dog stands…  

And speaking of bad sneakers sneaking down memory lane (bad being the contemporary term for good, in this case), here’s another pair to consider: Nike’s recent re-introduction of a twenty-year old basketball shoe. It was a slam-dunk maneuver for the megabrand and caused a point-of-sale frenzy that they publicly hope to forget (and privately are thrilled by).

 The story goes like this: Take an all-time classic basketball team (The Chicago Bulls circa early ‘90s, the era of their improbable multiple championship run), find a worthy retro symbol (an original ’95 Air Jordan creation, endorsed by MJ himself), and put it on the market at a highly appropriate time (last-minute Christmas-shopping frenzy that coincides with the opening of the strike-shortened 2011-12 NBA season).

Put that all together and you get the following:

• Beatle mania-type lines at malls across the US
• Violent skirmishes among patrons
• Multiple injuries and arrests

 – and oh yes, a sold-out, limited-edition run of $180 basketball shoes (already selling on e-Bay for $650).

 What is it about these particular Bad Sneakers that makes it such a coveted object of desire? Would the reissue of all the jerseys of those Magic-wand Lakers or Bird-flown Celtic teams of yesteryear create similar havoc outside the geographic limits of their respective fan bases? Probably not and here’s why:

 More than any other star, Michael Jordan always placed the game above the ego. He was all about basketball, simultaneously its greatest student and its most accomplished exponent. Forget the endorsements, the flirtations with Hollywood and all the money that came with both; winning was the real reward, the thing he hungered for above all else. Compiling six championship seasons with the Chicago Bulls established Jordan as a brand worth emulating and a breed unto himself.

 And you didn’t have to be a Bull’s fan to like Mike; it was enough to watch him driving the lane executing that impossible reverse layup, his tongue wagging like an over-enthusiastic puppy or hanging in the air from 3-point range for what seemed an eternity before releasing (and sinking) another game-winning jumper. His passion and dedication and the sheer joy he experienced in playing the game were simply infectious.

From Shaq and Kobe to Pierce, DWade and LeBron there are certainly many worthy stars to have emerged since MJ retired. But none, I would argue, will ever quite engender this brand of enthusiasm.

Skills can be honed, talent can be exploited to the fullest, and victory, alas, must emerge as someone’s good fortune at the end of every hard-fought season. But brands that are so fondly and emotionally branded into our collective memory are simply impossible to duplicate. And that’s the magic of Michael. That’s why #23 will always be #1 and Nike will always be able to “just do it” by cashing in on their Air Jordan equity; it’s probably also why all these kids will always be willing to stomp down the avenue… in their bad sneakers… with large sums of money to spend.

I think I’ll stick with Steely Dan…    

 Rock n’ Roll was my mentor and seductress; the pulsating beat for anything that mattered and the user manual for my self-discovery. It bravely and recklessly walked that fine line between who I was and how I wanted others to perceive me. I only had to show up at the dance…

In retrospect, my first real indoctrination into the who-are-you complexities of brand building came crashing into my consciousness back then – I just wasn’t yet aware of its significance.

 Case in point: The Who. One of a handful of elite seminal rock bands to emerge on the British music scene in the 1960s, the question “who are you?” is a recurring theme that runs throughout their (literally) smashing 40-year career. From the angry stuttering punk bellowing “m-m-m-my g-g-generation” in one of rock’s first truly great rebellious anthems (1964), through deaf-dumb-and-blind-boy Tommy whose amazing journey from fringe outcast to charismatic new age guru unfolds throughout the genre-defining rock opera of the same name (1968) to the multi-personality hero we encounter in Quadrophenia who begs “Can you see the real me?”(1974) the raw existential angst of “Who are you?” (1978) and the hedonistic pose of hiding behind an “Eminence Front” (1982) it’s all about the tradeoff between brand (identity/essence) and reputation (opinion/perception). 

Pete Townsend, the band’s prolific philosopher poet and wind-milling guitarist  created an extraordinary body of work that asks to explore how individual identity is impacted by the perception of one’s peers – in essence, how you painstakingly build your brand from the inside-out and then have to live with the consequences of its reputation – filtering from the outside world  back in.

 In the corporate world, brands cry out for attention every day with the same “see me, feel me, touch me, heal me” beckoning of lonely Tommy demanding to be recognized on his own terms – only to be discouraged by the dissonance between who they know themselves to be and how they are being perceived by their respective audiences.

 But aren’t reputation and brand ultimately the same? There is undoubtedly an overlap between the two. But if we define Brand as a confluence of factors that translate into a very specific identity and Reputation as how that essence is received, critiqued and appreciated out in the world then it’s clear that Reputation follows/reacts to Brand.

 Any self-respecting rocker will tell you that the real question is to what extent should Reputation be allowed to influence the Brand. Like people, brands are capable of evolutionary change throughout their life span. Certainly, we all go through cosmetic makeovers to both our looks and personality in response to how we are told (or feel) we are being perceived by others. But how much do we really change our essence or character as a result? Brands need to behave in similar fashion – it’s OK to go for a new logo, rewrite the website, shift your tone of voice. But ultimately, the question “who are you?” will always challenge you to dig deeper and see if you really need to change the Brand or just improve at managing your Reputation.

Indeed, reputation has a way of hogging the stage. Too many brands are impulsively reactive to what does or doesn’t seem to work as opposed to being responsive on their own terms. Changing course in haste is never a good idea. Companies need to turn inward first and ask “Should I be making a move in sync with this emerging market trend? Does strong consumer reaction to a certain campaign or product introduction warrant immediate response? Do I need to be following where my competitors are going, or can I stay my own course?” If you know who you are and what the essence of the brand stands for, you always stand a better chance of being responsive rather than reactive. And your actions are more likely to be viewed and appreciated by the market as following a consistent agenda. Surely, this will alienate some, but for others — the ones you built the brand for in the first place — it creates a platform they can identify with and trust. It builds the tribe you’re looking for. Just ask the Who; they’ve been unapolegetically spearheading their own brand of rock n’ roll for over 40 years, content to respond to the market by simply remaining themselves.

 Bottom line: Every brand needs to follow its own soundtrack. Sing your tune long enough and consistently enough and the essence of who you are will come through loud and clear.

Splish splash, I was takin’ a bath
Long about a Saturday night
A rub-a-dub, just relaxin’ in the tub
Thinkin’ everything was alright

I came across the late-great Bobby Darin’s early rock n’ roll classic the other day and I was instantly swept – or should I say washed – away by its timeless appeal. Its bubbly lyrics reminded me of another famous bathing experience, the legendary incident experienced by the ancient Greek scholar Archimedes – the one that inspired the name of my company.
 

Sinking into the water, Archimedes watched its level rise and had the sudden revelation that the volume of water displaced must be equal to the volume of the part of his body he had submerged. Understanding that this principle meant that it was indeed possible to measure the volume of irregular-shaped objects with precision – which had until then been considered impossible – Archimedes exclaimed ‘eureka!’ (“I’ve got it” or “aha!”) and proceeded to streak through the streets of Syracuse stark naked with excitement, anxious to report his findings to anyone who might listen.
 

What is it about taking a good soak in a hot tub that yields so many inspiring eureka! moments of creative discovery? Probably the same magic that occurs during a long trance-like run, or while absentmindedly daydreaming in line at the bank, or when deep in the middle of an unrelated conversation with a friend. It’s the inevitable epiphany that comes with detachment – somewhere between the time you thought that your best idea was just within reach and then gave up trying so hard to make it happen. It’s the understanding of how to engage that can only be gained when you disengage.
 

So much of brand creation occurs when you don’t force the storyboard and just let its character, voice and mythology reveal themselves to you. Brand building, to be sure, requires a measure of scientific inquiry and carefully planned methodology. It often proceeds at a frustrating one-step-up, two-steps-back pace. But the real quantum leaps that typify the art of branding, the ones that produce emotional hooks and lay the cornerstone for genuine relationships, usually occur when you least expect them, far removed from the din and drain of ‘the process’. They are the insights gathered between the lines of your research, the eureka! moments that take place out of time.  

 So go take a bath. Branding is the art of submergence.

I’ve nothing much to offer/There’s nothing much to take
I’m an absolute beginner/And I’m absolutely sane

These are the opening lines to David Bowie’s Absolute Beginners, the hit theme song from the 1986 movie of the same name. They could also serve as a perfect backdrop for describing Absolut Vodka’s recently launched contest, calling upon all talented and interested parties to lend their creative abilities in building a new sub-brand which would try and capitalize on the wellness megatrend that is currently sweeping the globe. The project brief calls for no less than the complete creation of a new and relatively healthy spirit brand, from the initial stages of concocting the leading ingredients for a low-cal alcoholic beverage, through product packaging, logo design and name creation.

Quite a tall drink for any established creative agency to swallow, let alone for all the aspiring product designers, graphic artists and casual namesmiths floating about in cyberspace. Is this really a task for absolute beginners?

The Swedish vodka and spirits giant has long been recognized for its innovative advertising campaigns. A seemingly endless fountain of ideas on how to dress up a simple, elegant and instantly familiar-looking bottle has yielded work that is consistently strong on artistic expression and always engaging for its diversity. The fact that the brand name is such a powerful dictionary name – an adjective synonymous with non-compromise and totality – provides an always fertile source for short, catchy headlines for all their campaigns. In short, Absolut Brilliance.  

So what suddenly changed? Many in my profession argue that this is merely a cheap exercise in crowdsourcing, that wonderful buzzword that describes the aggregation of ideas, talent, opinions and creativity sourced from the general public and typically provided free of charge. Certainly, working on spec is never fun and prize money of a mere €7,000 – to be divvied up amongst the top three concept submissions – isn’t exactly the major compensation one would expect from such a major conglomerate.      

I admit, I would have loved to have been hired for a gig like this but I also admire their chutzpah. Think about it: we are living in a time of growing global social unrest where people are posing fundamental questions about how society is run. Brands will be scrutinized now more than ever and how they choose to engage and cultivate relationships with their audiences will increase their long-term value. By turning a branding exercise into a public contest, Absolut sends an implied message to consumers that says ‘we appreciate your patronage, value your opinions and believe in your creative abilities’. I’ll be very interested to see how they follow through on this one. While it certainly won’t replace the work of professionals (nor should it) it may prove to be an interesting alternative model for solidifying the brand-consumer relationship.

So cynics be damned; I’ll stay with my absolute belief in Absolut’s approach to branding which, to my taste, has always gone down the hatch like a smooth shot of vodka. Absolute integrity? Perhaps not, but it can’t be denied that this brand has always been about Absolut Engagement.

When it comes to the love affair between the Absolut brand and its loyal legion of fans Bowie sums it up best:

As long as we’re together/The rest can go to hell
I absolutely love you/Though we’re absolute beginners
With eyes completely open/But nervous all the same

Bottom line: Bottom’s up!

“Power to the people, right on!”

It’s been 40 years since John Lennon first released this rock n’ roll war-cry for empowerment back in 1971. In the decades since, it has often sounded dated and naïve; a leftover relic of a bygone hippie age. But in 2011, the call for power-to-the-people roared like a lion, reflecting the sentiments in emerging social justice movements that have spread like wildfire, worldwide. The message rings loud and clear: From New York’s Wall St. to Tel Aviv’s Rothschild Blvd. people are sick and tired of being sick and tired.

Sick of an economy that is rich on promise and poor on execution. Tired of the deaf ears and dubious promises of public officials. Sick of a healthcare system long on lines and short on attention. Tired of the mounting costs of our so-called free education.  

Sick and tired of brands.     

No wait, you say – no call for change is going to change our desire to consume products. Materialism is, after all, the true opiate of the masses; budgets be damned, we are not about to stop spending. Nor are we willing to abandon our allegiance to Brand X in favor of Brand Y over a few price points. Brands are a useful mechanism for forging relationships, awakening emotions and building engaging dialog between society and the supply chain that feeds its needs. They are deeply steeped in our collective cultural consciousness. And just as Lennon was no Lenin, capitalism isn’t about to go anywhere anytime soon.

What has gone away – and refreshingly so – is our complacency. A line has been drawn in the sand, new expectations have been established and brands will not be immune to the power-to-the-people demands of a New Order.

 Here are a few tips for brands to survive and thrive in the era of unrest:

Internalize the promise

Employees are one of the most vital audiences of any brand – and typically the most ignored. Any success in branding for the outside world will be lessened if you are unable to achieve a widespread acceptance in house. The buy-in will depend on the extent to which your messaging rings true with everyone on your staff – Does the story you choose tell the world stand up in the daily operations of the workplace or is it greeted with cynicism? Do you just profess concepts such as “diversity”, “fairness”, “inclusiveness” or do you practice them? Do your community outreach programs extend to your own in-house community?  The new brand order demands “power to the people” – your people.

 Ship only what’s relevant

Stop selling us stuff that we don’t need. Spare us the repackaging of redundant product in new packaging. Sure, it’s fine to dress up the boy in a new suit of threads, but if “Version 2.6” doesn’t speed things up or if the “new and improved formula” really isn’t – then stop it, please. An empowered people want to buy what already works for them. Save your marketing adventures and new product introductions for what is really bold and innovative. Reward consumers for the trust they have shown you.

Set a social agenda that resonates with who you are

We care about what you think and how you act. Really. Don’t promote a charity if you manufacture in regions where fair trade practices are less than charitable. Don’t champion multi-cultural performing arts events  if you don’t employ a culturally diverse staff. You get the idea.

Communicate with Respect

Show us advertisements that view the world through a more realistic prism with enough bandwidth to highlight the relevance of your product to the Bigger Picture. If you’re introducing a campaign slogan or corporate tagline that is meant to encapsulate your brand promise make sure it hits the mark. No brand – no matter how recognized – can afford to rest on its laurels when it comes to messaging. Does the challenge of Just do it still inspire in an age where we simply don’t have the means to? Does the me-first drive of the iGadget generation to Think Different really contribute anything to the collective us? Maybe. But perhaps it’s time to think again.

Stay humble

There is always another alternative. The cry for social justice crosses all segments of society and will impact people’s relationships to brands accordingly. Be ready to prove your claims and, better yet, make sure that they are self-evident at every brand touchpoint. Consumers are always great ambassadors for things that simply work better without your having to shout it out too loudly.

Bottom line: In these complex times, brands would do well to heed John Lennon’s simple and highly relevant dictum; “Power to the People” is a strategy that is indeed “Right On!”

Many global corporations actively invest in charities, passionately support environmental endeavors, underwrite performing arts festivals and sponsor sporting events. It’s a way of holding the brand and its value system up to scrutiny in the public eye, re-affirming the trust and loyalty of its audiences and earning goodwill points.

In the prusuit of the free publicity that charitable efforts inevitably brings, most companies will aim at consensus, prefering to steer clear of trouble, controversy or political landmines.

And then  there’s Benetton.

Few, if any, can boast the boldness and brashness of Benetton, a lone wolf that has always ran outside the pack with its penchant for overtly controversial campaigns and un-apologetic stances on wide-ranging topics from social equality and race relations to sexual ambiguity and HIV; to violent conflict, religious hypocrisy and capital punishment.

Back in 1982, the Benetton family hired photographer and provocateur extraordinaire Oliviero Toscani to head up their ongoing United Colors of Benetton advertising campaign, giving him a free hand to explore social commentary through in-your-face imagery that is at once disturbing and captivating, off-putting and evocative, repulsive and seductive.

All of these ad campaigns were delivered as text-free compositions with uncompromising aesthetics, adorned only with the United Colors of Benetton distinctive logo. Toscani eventually resigned in 2000, following a controversial campaign featuring death row inmates in the US as its subject and bearing the heading “Sentenced to Death”.

None of Benetton’s other activities, from Formula 1 racing sponsorship to funding a team in the Italian basketball league, could possibly temper its more controversial advertising that has come to be so closely associated with the brand.  

Indeed, a dozen years later, Benetton still maintains its controversy-builds-brand ethos. Their most recent campaign, launched under the auspices of Benetton’s latest socially-conscious brainchild, the UNHATE Foundation, has brought the luxury casual wear brand and all its 6,000 global stores under public scrutiny once again. 

 The newly unveiled UNHATE campaign shows digitally-treated photos of world leaders, who are known to be adversaries of varying degrees, kissing one another on the mouth. And so we witness the often comical and unsettling images a là Benetton of smooching couples Barak Obama and Venezuelan President Hugo Chavez, French President Nikolas Sarkozy and German Chancellor Angela Merkel, and Israeli PM Benjamin Netanyahu and Palestinian Authority President Mahmoud Abbas, among others.

This would seem tame when compared to some of the more infamous exploits in their legacy, save for one obvious transgression: pairing Pope Benedict XVI in (un)Holy Communion with an Egyptian Imam.  The Vatican has issued a statement expressing the “firmest protest for this absolutely unacceptable use of the image of the Holy Father” and the latest news reports have the infidels at Benetton agreeing to pull the offending digital fresco from its campaign.

Alessandro Benetton apologized on behalf of the company for hurting “the sensibilities of the faithful” but justified the pro-peace campaign, claiming its noble intentions are to “give widespread visibility to an ideal notion of tolerance and invite the citizens of every country to reflect on how hatred arises particularly from fear of ‘the other’ and of what is unfamiliar to us.”

Yeah, whatever. All this really begs the question, is it good for the Benetton brand or bad? Can we still buy a Benetton sweater for its distinctive color, design, elegance and fit – or must we buy into their whole headline-hungry hedonism as well?

Bottom line: Love ‘em or unhate ‘em, they sure know how to get noticed. How long can Benetton continue to ride the wave of notoriety and naughtiness? Thirty years of success would seem to indicate that their special brand of spreading brand awareness is not about to disappear anytime soon.

For starters, a 99 cent taco lacks the perceived (and real) value that gets a person excited about receiving a prize.  While its great to win anything, 99 cents is easily replaced.

This blog thinks a lack of exclusitivity is what made the promotion fail.  Though it may be true that a promotion corresponding with a new product launch may have increased the perceived value of the giveaway, I do not believe it was the number one deterrant to it’s success.

So what was? 

In my opinion, it was the effort required to redeem the prize that was the biggest problem.  When you think about successful promotions like Tim Horton’s Roll Up the Rim to Win campaign, customers can redeem prizes instantly.  Taco Bell put too many barriers in place for customers to the point that, even if they wanted the free taco, it wasn’t worth the effort.  When it comes to promotions, instancy is the name of the game. 

Though the online landscape has opened doors to interaction between brands and customers online, instant access to physical products has been a barrier to the success of numerous campaigns.  Brands must figure out a new approach to these types of giveaways if they wish to make them worthwhile going forward.

It’s clear that while marketing contributes to the bottom line, it’s great products that are the cornerstone for any company’s success.  Marketing can optimize the success of a product offering, but without quality products it’s unrealistic to expect enchantment be achieved. What makes your products great?

Syncapse recently published a whitepaper on  understanding Facebook fan value and key return on investment indicators.  I recommend that any brand marketer interested in better understanding the online landscape and the value of engaging customers through social media platforms read it and consider how to provide relevant content to potential customers (and convert them to brand ambassadors) online.

Similar to a Twitter follower, a Facebook fan will be more valuable if they have a true interest in your brand and product offerings.  The number of facebook fans a brand collects is less important than who those fans are.  In other words, quality trumps quantity.  Knowing who is following your brand will go a long way in understanding their value and the return on your online activities.

What does your company do to assess the quality of your social media following?

Please Play Again

Last month I blasted McDonald’s for their free coffee giveaway and praised Tim Horton’s for the brand loyalty they’ve developed, in part through their Roll Up the Rim campaign. However, just over a month into Tim Horton’s annual contest, I’m back to acknowledge the shortcomings of my initial comments.

The free flow of communication and information online have allowed consumers to have a much stronger voice when it comes to criticizing brands. No longer can companies hide from their deficiencies without feeling the wrath of harsh consumer feedback through various online channels.

Please Play Again

A search for “#TimHortons” on Twitter will quickly highlight the consumer perception of the coffee shop’s Roll Up the Rim campaign today. Many customers are clearly upset with both the success rate they’re experiencing and the quality of the prizes they receive when they do actually win.

Today, companies are forced to be more responsible for their marketing efforts, and while the online space allows for greater interaction with customers, it also comes with an open line for criticism. This is not necessarily a bad thing if brands are able to respond to feedback through positive change; however, companies unwilling to make the effort must tread carefully. If Tim Horton’s is not careful, they’ll quickly find more and more customers refusing to ‘please play again’.

But whose responsibility is it to indicate that prices may be higher than normal on Valentine’s Day?  Should customers be expected to know that prices are subject to change on certain holidays?

After booking my Valentine’s Day dinner through OpenTable I recognized a disclaimer at the bottom of my confirmation e-mail:

“Holiday Reminder:  This is a confirmed reservation for Valentine’s Day.  Given that some restaurants create special menus, you may wish to contact the restaurant for details about any prix-fixe menus and pricing.  Thank you.”

This simple disclaimer about a seemingly obvious condition protected OpenTable from potential Valentine’s Day scrutiny. OpenTable took the opposite approach to Groupon recognizing that it would be ill advised to assume a customer’s understanding of special circumstances. With new channels of online distribution at our disposal, we mustn’t forget the increased complexity of sales transactions and the importance of clear communication with potential buyers.

Papa John’s recently launched a social media campaign called “Papa’s Specialty Pizza Challenge”. Customers have been given the challenge of creating a new specialty pizza for Papa John’s menu. The top three pizzas will be featured on the pizza chain’s menu through the month of August, with the winner being the pie that earns the highest sales figures.

The contest winner will receive 1% of sales (up to $10,000) for the one year period the pizza will be offered after the contest and free Papa John’s pizza for life. The winner will also appear in a Papa John’s television commercial.

A little like American Idol for pizza lovers, the new Papa John’s campaign is a great example of efforts made to engage customers online. Dominos recently used the online space to obtain feedback on it’s pizza and built a new receipe based on the customer input. Papa John’s; however, is going one step further, linking efforts to incentives that will undoubtedly create a buzz around the campaign. In my opinion, the contest offers more than just financial incentive, but the opportunity for loyal Papa John’s customers to become a part of the ‘Papa John’s family’.

 a) Many are of the opinion that Nike should have stopped supporting him when news broke of Tiger’s now infamous sex scandal.

b) For the controversial advertisement Nike aired with the voice of Tiger’s late father seemingly lecturing his son for his wrongdoings.

Few; however, have considered the publicity Nike has received as a result of their decisions. Tiger Woods appears to be at the top of his game despite a 6 month absence from competition, and professional golf going into this weekend’s Masters at Augusta National, has never been bigger.

While I’m not here to defend Tiger Wood’s actions as a person, I am here to defend Nike’s decisions as a company. If Tiger returns as the world’s top golfer once again, allegations against him will likely be forgotten within a year as focus turns back to his on-course performance.

 Instead of panicking, Nike has turned what could have been a PR disaster, into publicity for their own brand. Their recent advertisement does not ignore Tiger’s recent scandal, something Nike could have easily been criticized for. In fact, with the ad, Nike has taken to acknowledging Tiger’s mistakes, suggesting that sometimes reflection and change are required from even the best. Despite taking some criticism, the ad has been viewed by millions on YouTube and sets the brand up nicely for association with Tiger’s inevitable comeback story.

What do you think of Nike’s continued support of Tiger Woods?

The free flow of communication and information online have allowed consumers to have a much stronger voice when it comes to criticizing brands. No longer can companies hide from their deficiencies without feeling the wrath of harsh consumer feedback through various online channels.

A search for “#TimHortons” on Twitter will quickly highlight the consumer perception of the coffee shop’s Roll Up the Rim campaign today. Many customers are clearly upset with both the success rate they’re experiencing and the quality of the prizes they receive when they do actually win.

Today, companies are forced to be more responsible for their marketing efforts, and while the online space allows for greater interaction with customers, it also comes with an open line for criticism. This is not necessarily a bad thing if brands are able to respond to feedback through positive change; however, companies unwilling to make the effort must tread carefully. If Tim Horton’s is not careful, they’ll quickly find more and more customers refusing to ‘please play again’.

Too often, I find companies are using the online space as an opportunity to apologize for mistakes without really facing the music and doing something about them. When a company makes an error in judgement or a bad decision, I’d much rather hear ‘we messed up and here’s what we’re going to do about it’ than ‘sorry’, knowing full well that nothing is going to change.

The online space actually offers a pretty interesting way for organizations to reach customers and show them that they’re sorry rather than just tell them. Use the opportunity to reach a mass audience of potential and current customers to update them on progress being made to right your wrongs. Re-build your brand’s reputation and maintain a consistent dialogue with the people whose opinions of your brand are most important.

I believe the meaning of the word sorry has changed, but it’s not too late to make it mean something again.

In 2008 Aflac’s revenues were $16.8 billion, a 44% increase from 2003 results.  The biggest reason for the company’s sudden success?  A campaign centred around an ‘Aflac’ quacking duck.   Click here for Daniel P. Amos’ (Aflac CEO) account of how he fell for the duck, featured in last month’s Harvard Business Review. The company’s improved brand awareness and name recognition has made them a leader in the two largest insurance markets in the world, the United States and Japan.

Aflac is a great example of a company that has leveraged the success of a traditional ad campaign through the effective use of social media integration.   As evidenced by demand for stuffed replicas of the Aflac duck following the release of the original ad campaign, the duck created a brand ambassador customers had developed a connection with. 

Aflac created a website that allowed people to rework the words the duck sings in its Japanese Aflac commercials.  In only 2 months, over 100,000 people had posted spoofs of the song online.  Today, the Aflac Duck has over 170,000 Facebook fans (I just became one).

Social media has allowed Aflac to further develop the personality of its star performer.  The duck has become more than just a part of an advertistement. He’s the face of the franchise.  Interested in knowing about some of the duck’s personal interests?   Facebook has the answer:

“I like watching funny videos on the internet, and hanging out. Food network- especially that Paula Deen. Listening to music. Acting in commercials. Pretty much, I’m living the dream. I would be into French food, but they use more duck than I’m comfortable with.”

The consumer perception of free products clearly transcends industries and product types. McDonalds’ attempt to gain market share within the Canadian coffee drinking community is a great example of how “free” doesn’t always work. In the wake of Tim Hortons’ annual Roll Up the Rim to Win competition, McDonalds (for the third time in the past calendar year) is offering free coffee with no purchase necessary. As a short term initiative, McDonald’s may do well to improve traffic to their breakfast menu, but long term the promotion does little to better the outlook of their coffee sales. The majority of coffee drinking Canadians have brand loyalty to Tim Horton’s and are unlikely to switch brands without significant reason. In McDonalds’ case, free coffee is more likely to devalue their offering which may have otherwise been positioned as a premium product. Admittedly, their coffee is pretty good – made with 100 per cent Arabica beans, but who would want to pay for a product that they’ve been given for free on multiple occasions?

It’s important to recognize value adds as just that, something to provide additional value to your primary product offerings. If the goal was to compete with Tim Horton’s in the Java market, McDonald’s may have missed the boat.

Molson Canadian

Being from Canada, and given that we are in the midst of the Olympic Games in Vancouver, I thought it would be fitting to discuss a campaign that Molson Canadian rolled out as a part of their 2010 Olympic related marketing efforts.

“Gear Up For Gold” is a campaign Molson Canadian developed with the goal of engaging customers through social media channels. On their website, fans are able to customize Olympic gear that can then be added to personal profiles used for posting on both Facebook (which recently passed Yahoo as the second most visited website behind Google) and Twitter. The campaign has seen Molson’s Facebook ‘friend’ numbers jump from 30,000 prior to the Olympics to over 260,000 people today. In comparison, Budweiser (boasting the 2nd largest beer fan site) has only 98,000 friends on Facebook.

To create a buzz, 3000 Molson employees were given a sneak peek of some of the campaign’s ads and were urged to spread the news ahead of their release. This goes to show how using internal brand ambassadors can be an effective way of promoting your company’s products or services at a low cost.

The social media strategy is considered the main reason for Molson Canadian’s improved identity with beer drinking Canadians, and have clearly revived what was slowly becoming quite an unmemorable brand.  With beer consumption in British Columbia projected to be up 19% over the same period of time last year, Molson has done a great job of making their brand visible at just the right time. For those that are concerned that social media strategies lack the ability to convert sales and drive revenues, Molson provides an example of a company that has used online customer interaction to increase exposure to their brand over a period of time that they knew there would be high demand for their product (beer).

Note: Statistics from The Globe and Mail article titled “Brewer Dons the Red Jersey for the Home Team” (February 23rd, 2010)

Online channels allow marketing strategies to be more targeted and provide opportunity for ongoing interaction between customers and corporations.  Like never before, brands have the chance to build on the feedback they receive and develop new offerings or enhance their existing products to provide real value to their target consumers.

“History is more or less bunk.  Its tradition. We don’t want tradition.  We want to live in the present and the only history that is worth a tinker’s dam is the history we made today.”  – Henry Ford

Traditional mass marketing is impersonal and clearly lacks the capacity to uncover insights the way the online channel has proven it can.   Presumably, the more interaction a customer has with its favourite brands, the more brand loyal they’ll become.  While traditional marketing strategies are still prominent, it’s those that are online, building real relationships with their customers that are truly ahead of the game.  And while we may not see the effects completely today, the long term benefits of increased customer interaction will undoubtedly favour those who have taken the necessary steps to redesign their marketing approach and cultivate customers with an eye to the future.