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Archive for the ‘Creativity’ Category

A Few Thoughts About The Superbowl 45 Ads

February 6th, 2011 by Rob | Posted in Brand Story, Creativity, Superbowl |

Now that the Superbowl is over, there will be hundreds of reviews of the ads. Millions if you count the tweets and FB updates.

Here’s mine…

First, the music was atrocious. The National Anthem was butchered by Christina Aguilera. My kids asked, “why is she singing like that?” And the halftime show by the Black Eyed Peas. What was that? Tron the Musical? Lea Michelle’s singing of America the Beautiful was much better than both… by two orders of magnitude.

Second, let me just say that no matter how bad a Superbowl ad may be, they are all significantly better than the ads that typically run on local television and everyday prime time. There is so much bad advertising on television which is why the Superbowl stands out. Congratulations to all of the creative teams who worked on this year’s spots.

Oh, and the game was darn good even for fans like me with little attachment to either team.

Now, on the the commercials…

Best Spots Overall:

Coke: Border Crossing.

It’s not “I’d like to buy the world a Coke”, but it plays nicely off the same idea. Even bitter adversaries can find a way to share a Coke. Great use of a story to share a unique brand idea. Very different from the childish humor of Pepsi this year.

 

 

VW: The Force

The :60 version of this spot got more than 12 million views online in the week before the Superbowl. That version is better than the :30 we saw during the game. This seems to be the crowd favorite. Another good story used to demonstrate a product benefit: the car can be turned on from far, far away (so to speak). Here’s the long version:

 

 

Honorable Mentions:

Audi: Old Luxury

This spot made me smile. Clever way to stick a finger in Mercedes’ eye. And make Audi the brand of “hip” luxury, all in a some-what silly story…

 

 

Dorito’s: Best Part

Another funny spot, though a little creepy. Finger sucking is one thing when they’re your own fingers, but someone elses? Still, I like it.

 

 

Chrysler: Detroit is Back

It’s not easy to make a big American car look cool, but this one did it. A decent sound track, good copy, and cool visuals back up the come-back story Detroit has been telling for a while now. Much better than the Brisk ad featuring Eminem. Side note: two ads featuring Eminem? Didn’t see that coming.

 

 

Bridgestone: Karma

Another decent use of story to demonstrate a product benefit—in this case your tires will save rodents on the road and maybe even your life.

 

 

Stella Artois: Lounge Singer
Okay, this one is a little over the top. But I liked it. And given the lack of views online, I may be the only one that felt this way. So sue me.

 

 

And while I really didn’t care for the Snicker’s ad, any ad that knocks Roseanne Barr on her backside with a battering ram deserves some credit.

Now the bad…

Worst Spots Overall:

Mini: Cram it in the Boot.

Yeah, it is humorous. And it does a good job of demonstrating a product benefit. But the double entendre was just too much. The Superbowl is supposed to be family entertainment right?

 

 

Groupon: Tibet

This one starts out like a public service ad, with a few facts about the political situation in Tibet. Then turns it into a joke with a Groupon for Tibetian cuisine. Lame. Making a joke out of Tibet doesn’t do it for me. Even if it means I save $10 on Pad Thai.

 

 

Pepsi Max: Torpedo Cooler

Hey I’ve got a an idea that will make them laugh. Let’s hit a guy in the nuts. That’s been comedy gold since before Weekend At Bernie’s. Boorish behavior. No real story or product benefits (with the exception of the diet ad). Pepsi ads in the past have been so much better.

 

 

So what did I miss? Agree? Disagree?

Friday Inspiration—Manifesto for Growth

June 4th, 2010 by Rob | Posted in Advice, Creativity, Design, Ideas, Inspiration, Manifestos, Smart People, Stuff I Wish I Wrote |

In 1998, I stumbled across Bruce Mau’s Incomplete Manifesto for Growth for the first time. I remember downloading it to my Palm Pilot so I could refer to it whenever I wanted to. I shared it with many of the creative people I have worked with over the years. In the time since I first discovered the manifesto, it has been posted to hundreds of websites, sometimes in very unique ways (like this and this). It has been plagiarized and satirized. But what Bruce wrote 12 years ago, is still applicable today. If you are interested in personal growth, this is a good place to start. And it’s this week’s friday inspiration:

1. Allow events to change you.
You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.

2. Forget about good.
Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth.

3. Process is more important than outcome.
When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.

4. Love your experiments (as you would an ugly child).
Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.

5. Go deep.
The deeper you go the more likely you will discover something of value.

6. Capture accidents.
The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.

7. Study.
A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.

8. Drift.
Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.

9. Begin anywhere.
John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.

10. Everyone is a leader.
Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.

11. Harvest ideas.
Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.

12. Keep moving.
The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.

13. Slow down.
Desynchronize from standard time frames and surprising opportunities may present themselves.

14. Don’t be cool.
Cool is conservative fear dressed in black. Free yourself from limits of this sort.

15. Ask stupid questions.
Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.

16. Collaborate.
The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.

17. ____________________.
Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others.

18. Stay up late.
Strange things happen when you’ve gone too far, been up too long, worked too hard, and you’re separated from the rest of the world.

19. Work the metaphor.
Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.

20. Be careful to take risks.
Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.

21. Repeat yourself.
If you like it, do it again. If you don’t like it, do it again.

22. Make your own tools.
Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.

23. Stand on someone’s shoulders.
You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.

24. Avoid software.
The problem with software is that everyone has it.

25. Don’t clean your desk.
You might find something in the morning that you can’t see tonight.

26. Don’t enter awards competitions.
Just don’t. It’s not good for you.

27. Read only left-hand pages.
Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our “noodle.”

28. Make new words.
Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.

29. Think with your mind.
Forget technology. Creativity is not device-dependent.

30. Organization = Liberty.
Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between “creatives” and “suits” is what Leonard Cohen calls a ‘charming artifact of the past.’

31. Don’t borrow money.
Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.

32. Listen carefully.
Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.

33. Take field trips.
The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.

34. Make mistakes faster.
This isn’t my idea – I borrowed it. I think it belongs to Andy Grove.

35. Imitate.
Don’t be shy about it. Try to get as close as you can. You’ll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique.

36. Scat.
When you forget the words, do what Ella did: make up something else … but not words.

37. Break it, stretch it, bend it, crush it, crack it, fold it.

38. Explore the other edge.
Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.

39. Coffee breaks, cab rides, green rooms.
Real growth often happens outside of where we intend it to, in the interstitial spaces – what Dr. Seuss calls “the waiting place.” Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference – the parties, chats, lunches, airport arrivals – but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.

40. Avoid fields.
Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.

41. Laugh.
People visiting the studio often comment on how much we laugh. Since I’ve become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.

42. Remember.
Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.

43. Power to the people.
Play can only happen when people feel they have control over their lives. We can’t be free agents if we’re not free.

A Prologue Sets Up Your Brand Story

May 24th, 2010 by Rob | Posted in Brand Story, Creativity, Narrative, Story Telling |

My favorite part of almost every James Bond movie is the prologue, the dramatic opening featuring Commander Bond in a short, action sequence and a death-defying stunt.

Take Casino Royale as an example. The movie opens with a black and white sequence in which Bond earns his double-O status when he corners and kills a corrupt station chief. Then the credits roll…

Warning: the following clip is a bit violent. Discretion is advised.

 

The prologue sets the stage for the rest of the movie by introducing the actor, the action, and the back story. Now we are up-to-date and ready for the rest of the narrative to unfold.

Prologues have been used for centuries to establish context and understanding for the story about to be told. They are common in fiction, non-fiction, movies, and theatre.

Brand stories use prologues too.

Think about the brand story that Southwest Airlines (SWA) tells its customers: We give people the freedom to fly. They do this with no fees for baggage. Lower ticket prices. No first class seats. Faster rewards for frequent flyers. Quicker turns at airports to minimize costs. It all adds up to more freedom.

No other airline can tell this story like Southwest can. Why?

Because no other airline shares Southwest’s unique prologue—the events that led up to the story SWA tells today.

As Kevin and Jackie Freiberg write in Nuts—a book about the airline’s rise, “the history of Southwest Airlines is a story of courage and perseverance.” The character of the company is rooted in its dramatic beginnings. Braniff, Continental, and Texas International airlines all argued that there was no need for Southwest. They spent four years fighting in court and lobbying congress to pass laws to keep Southwest out of the air.

In order to compete with the bigger airlines, Southwest had to do things differently. They flew out of obscure airports (the competition practically owned the more popular airports). They focused on lower prices (while other airlines charged high ticket prices and fees). At one point they gave away a free bottle of whiskey with every ticket sold just to attract customers (while other airlines thought they were crazy).

There’s a lot more to the story… but without the struggle to get off the ground (literally), Southwest wouldn’t have had to do things so radically different from the rest of the airline industry. Southwest’s brand story today owes everything to its prologue.

The Chicago cyanide poisonings should have ended Tylenol’s existence. Instead, the way the company handled the crisis is a powerful prologue that demonstrates the quality and safety customers get when they open a bottle today. Bill Bowerman’s quest for a better running shoe is the prologue to Nike’s story of enabling athletic accomplishment at every level.

Does your brand have a history you can draw on?

Prologues add context to brand stories. What’s yours?

Friday Inspiration—Where the Creatives Are

May 7th, 2010 by Rob | Posted in Cartoons, Creativity |

I’ve long been a fan of Tom Fishburn‘s cartoons about marketing. Two weeks ago, he posted a new cartoon that is my all-time BrandCamp favorite. It’s this week’s friday inspiration:

Check out more of Tom’s work, here.