The Flasher

give 'a little' blood

Did you know that one blood donation can save up to 3 lives?

 

Well it can, so can you please give some blood.

 

 

 

“In this clip we used humour to relieve people from the seriousness  of the issue – for just a moment.  Using humour like this allows people to be in on the joke – and consider something, in this case giving blood, that they may previously have had their defenses up about.   Since therapy began, humour has consistently been shown to be a much more effective form of behavioural change than the shock tactics we so often see.”

 

Adam Ferrier said that.

 

The Death of the Mall

I've never really liked shopping malls to be truthful, they don't have a lot of soul or individuality to them, and the handy car parks (read: always busy and extortionately expensive) inevitably bring out the worst in people when trying to get in and out.

Therefore, i'm not particularly saddened to read in this interesting article in the NY Times, that with the recession in full force in the US, and malls and large out of town stores closing at a rapid rate, and new and interesting uses of the vast space that they accommodate (the USA has six times the retail square footage of Europe) are being proposed.

The crux of this change in usage is that the malls have the opportunity to move from shrines of pure consumption (retail) to spaces where the community and brands have the opportunity to create centres of learning and promote the sharing of ideas (services).

So, whereas in the recent past only the largest flagship stores of multinational brands (for example Apple), have had the capital to invest in expensive retail space purely devoted to workshops and services, the abundance of cheap, accessible space has opened up the opportunity up for greater brand funded learning or services.

So for example; could Google create a Digital School in malls for senior citizens or those with limited access to the Internet, or could Health Insurance companies create free branded gyms for its members to stay healthy and keep their premiums low?

  

 

How Much to Pay for Digital, Where to Spend it and Who to Get for the Job

(excerpt from Kylie Flavell's article in Marketing Magazine,March 2009, p.26)

Kylie Flavell: What types of things should a marketer be wary about and question from a digital agency?

Brett Rolfe: Everything. It’s sad, but the complex nature of the technology combined with the occasionally cowboy nature of the industry has meant that many clients feel they can’t be expected to understand what the agency is doing, and fear they will look foolish for asking and challenging. If that is the atmosphere an agency has created, you are working with the wrong agency. If you are struggling with an agency, bring in someone you trust – internal or external – to sense check what the agency is saying, to act as a digital translator. Sometimes the problem will simply be that many smaller digital agencies may not have the skills to explain things in marketing-centric language. Other times, the lack of communication may be more malicious.

KF: Marketers are faced with the option of going in-house, using boutique agencies, larger creative agencies, or even some 17-year-old freelancer who works from their bedroom. Are any of these options better or riskier than others?

BR: The difficulty is that it is often the niche agencies and 17-year-olds who can deliver the most innovative and surprising work. For that reason, many clients are exploring the idea of using agencies that can own the strategy and the big idea, but then bring in the best skills to fit any particular problem.

KF: In 2008 Online spend did not match eyeballs in the space – where do you see things heading in 2009?

BR: Eyeballs is a misleading term – it suggests that digital is a big broadcast channel just waiting for us to shove advertising into it. Eyeballs reading their emails, eyeballs playing video games, eyeballs reading their friends’ Facebook status – these aren’t the same as eyeballs sitting in front of primetime TV. One of the things holding back digital marketing is our insistence on viewing it through the lens of media that has gone before it, as Marshall McLuhan warned. Things are heading into ever-stranger territory – from social media and collaborative creativity to augmented reality and mobile gaming. Understanding how these technologies can be harnessed will require marketers and agencies to bring together diverse technical and cultural insight with sound communication strategy – but then, that’s the way it’s always been, really. 

Read the full article.

A three channel model for digital communication

Ironically, one of the real barriers to innovative marketing is the whole existence of 'digital' as a category. The idea of 'digital' makes little or no sense from the perspective or either consumers or a marketers. The messy amalgam of technologies that we call 'digital' has been lumped together simply because they are a set of communication touch-points that share common technical infrastructure, often require similar executional skill-sets and have emerged at roughly the same time. Given this, it's no surprise that there is considerable confusion and disappointment when media planners and marketers get excited about 'the digital channel'.

Many of the more progressive marketers out there have realised that digital is a nonsensical category, and have drilled down to talk in much greater detail. They talk about podcasting, iPhone applications, twitter feeds and streaming pre-rolls. By pointing out that 'digital is not one channel, but thousands', we are suddenly in a complex, technically specific environment that makes it almost impossible to build clear, integrated strategies.

I believe that by finding a middle ground between these two extremes, we can create a notion of 'digital channels' that is more consumer-centric that the monolithic view, but also more strategically useful that the fragmented view. For simplicity, we might think about digital in terms of three channels; mobile, online, and digital out of home (DOOH). This is a useful model as each of the three channels creates a different sort of engagement with the consumer, providing different opportunities for marketers.

The mobile channel consists of all of those touch-points that are delivered through devices we carry around with us - mobile phones, personal media players, portable gaming consoles and so on. The channel incorporates touch-points as diverse as SMS messaging, mobile in-game advertising, and video-blogging. These can often provide connection with consumers regardless of time and location, but these devices are highly personal and marketers need to understand the value exchange involved in getting this close. The online channel is what most marketers think of when they talk about 'digital'. Online describes all those activities we conduct while 'in front of a computer' - whether that be at home, at work, or somewhere else. The ‘digital out of home’ channel (DOOH) is a fascinating space that is emerging as more and more of the devices around us become digital, networked and interactive. From digital billboards and in-store screens to kiosks and transit media, DOOH presents an increasing array of places to engage the consumer in varying types of public space.

While it’s reasonably straightforward deciding what technologies and tactics sit within each channel, there are obviously grey areas. As mobile phones become more 'computer-like' and laptops become more 'hyper-portable', the categories blur. As we begin to be able to communicate between our mobile phone and a digital billboard, the categories interact. For the most part however, the three channel model provides a clear first step toward strategically planning communication activity that looks beyond the desire to 'do something digital', and identifies the basic nature of the roles to be played by digital within a broader communication strategy.

- brett (cross-posted on the digital strategist blog)

Free Stickers!

I grew up in a part of the world where snowboarding is everything, especially when you are a kid.  The halfpipe for the Vancouver 2010 Winter Olympics is minutes from my (parents) house. You can be on the Whistler Blackcomb gondola in just over an hour.  Last weekend the world’s best riders competed in a rail jam on the rooftop parking lot of my local mall with A-Trak spinning a live soundtrack.  This is a part of the world where messy hair and goggle tans are deeply admired.

In a place like this certain brands carry heavy influence. We formed fierce opinions and pledged allegiance to our favourite snowboard brands in grade school.  Burton, Special Blend, Thirty-Two… our loyalty was built on fascination.  We wanted to live and breathe the world these brands built.  After all, they sponsored the riders, released the videos and hosted the events we all obsessed over.  They designed really cool stuff and presented it in really cool ways.  Brands became stars in and of themselves.  We wanted a slice of the magic. 

Brands elevated snowboarding from an activity to an identity.  By touching every aspect of the snowboarding experience they became larger than life.  The world of professional snowboarding was a fantasyland.  So when brands found ways to connect with us in personal ways, we fell head over heels in love.

Funnily enough, I began thinking about all this after reading an interview with Danny Fuller, who is not a snowboarder but a professional surfer from Hawaii.  His main sponsor is Quicksilver, a deal he secured at 10 years old.  When asked how he got involved with Quiksilver, Danny’s reply ignited a million flashbacks.  He said, “I started surfing at a really young age. I got spotted by the Quiksilver team manager in Hawaii. He gave me some stickers, and it all started from there. It’s funny when you’re 10 – you’re just so pumped on stickers.”

I used to beg the people working in snowboard shops to hook me up with free stickers all the time!  When I got older and worked in snowboard shops myself, I always threw free stickers from my favourite brands in the bag when younger kids bought stuff.  You could spend days, even weeks debating where to stick your precious sticker (they invariably ended up on your board, bedroom mirror or mom’s car).  Stickers were the best!

It’s a really simple snapshot of how brand loyalty works, but it hits at the nerve.  Granted, brands in snowboarding and surfing benefit from the nature of the industry.  Their commerce revolves around very marketable people, places, activities and objects.  Plus the ties to art, fashion, music and film make it easy to create a fantasy world.  But there is something fundamental at the root of the example. A small token of the brand presented in a personal context forges a connection to this world in a way that simply purchasing the product or seeing the magazine ad can’t.  It also represents a powerful form of viral marketing.  Kids spread the message because they are genuinely connecting with these brands. Stickers get you stoked.

KAWS and Effect

Here’s a pretty interesting video profile of contemporary artist KAWS by American TV network CBS (The intro with the bow-tied presenter and 80’s spray art graphic is fantastic)

For those not initiated with the work of KAWS, his artistic output and graphical influence within skate / street art culture has been wide reaching and pretty influential.

But what stood out to me during this profile piece is how he has managed to straddle significant commercial success (not too many artists have a jaw dropping flagship store in Aoyama, Tokyo) without detriment or any loss of credibility (i.e. appearing to have ‘sold out’) amongst his original fan base.

Evolving from a graffiti artist in NYC to what could be described as a worldwide youth brand is a pretty big leap, and given the fickle nature of contemporary art got me thinking about the influences of his success...

Fighting mass production – the contemporary art market thrives on limited runs of high quality product, KAWS has never flooded the market with his output (bar his original tags) and therefore kept the demand for, and value of his output high over time.

Using cultural hot spots – why does KAWS (an American) have his flagship store in Tokyo?

Firstly there’s a huge following of contemporary art, ‘kidult’ (kid-adult) vinyl toys and collectables. Secondly it’s arguably the world epicentre of ‘cool’, but being in Tokyo it makes it just a little too inaccessible to make it a mainstream shopping destination (see above).

Limited reciprocal collaborations that are true to the artists’ style. A small number of iconic brands get tagged or remixed for limited product runs; for example ‘The Kimpsons’ or ‘Levis x KAWS’, whilst the collaborating brand uses the equity of the artist to demonstrate their style credentials. 

Treading the fine line between artistic or brand consistency vs. the pressures commercialisation is extremely difficult, and often something that many don't suceeed at, but it's something at which KAWS seems to be excelling.

Designing København

I was looking at an architectural photo essay today and started thinking about the powerful role architecture plays in creating the essence of a city.  But what happens when something radical and different appears?

Copenhagen (København) has found a way to blend architectural styles and not have it become a visually cacophonous eye sore.  Ultra modern bank buildings sit beside 300 year old boat sheds.  For some reason it seems very natural, very Copenhagen.  Hmmmm…

I’ve determined that it’s because high-quality small-scale projects are pursued throughout the entire city, allowing people to experience new architecture in familiar settings.
Copenhagen hasn’t fallen into the global skyscraper race.  So many cities go for architectural ‘wow factor’ in scale, creating isolated zones of engineering eccentricity that lack connection to the rest of the city.  Take George Saunders’ impression of Dubai in The New Mecca: “like four or five architects staged a weird-off with unlimited funds.”

Copenhagen architecture is less about spectacle and more about pushing the essence of the city into new territory.  A locally minded pollination of new design allows Copenhagen residents to connect with progressive architecture often and in personal contexts.  Because of this, pioneering change in a traditional streetscape doesn’t come off as wild or alienating. 

This picture is taken at Tietgenskollegiet, where some friends lived while we were studying at Copenhagen Business School.  It’s a building with unforgettable design, but it also happens to be one of the most functional living spaces I have ever experienced.  It isn’t a monumental showpiece.  It’s a student residence in a quiet suburb.

Copenhagen has been voted the world’s most livable city in a number of recent surveys.  

So what is the essence of Copenhagen?  That embracing innovation and new ideas can be a way of life.

Tell it like it is

How do you communicate with your peers?

For something so quintessentially important to the work environment it’s not something I really spend enough time thinking about.  Fortunately, there’s Malcolm Gladwell to do that thinking for me (or at least a bit of it anyway).

In Gladwell’s latest book “Outliers. The story of success” he covers the usual range of interesting topics that prompt you to think about how they apply to yourself. How to become a successful New York lawyer in the 70’s and the importance of getting 7hrs practice a night if you’re the Beatles aren’t things I think about a lot. Actually, I try not to think about the Beatles at all as they’re the most over-thought band ever (don’t get me started).

Anyway, Gladwell spends a bit of time talking about flight crews and the impact of cultural norms on their ability to handle a crisis.  I won’t spoil the read, but what I found interesting related to the “Power Distance Index” (PDI) created by Dutch psychologist Geert Hofstede. To quote Malc “the PDI is concerned with attitudes toward hierarchy, specifically with how much a particular culture values and respects authority”. Or in other words, you’re propensity to tell your boss what you think.
 
Now, what I found really interesting about this is when he went on to list the five countries whose pilots (on average) have the lowest PDI scores.  They are;

15. United States

16.Ireland (the Irish have been known to have a fairly good grasp of expletives which might help here)

17. South Africa

18. Australia

19. New Zealand

Now, I’m not going to try and claim that the stresses of working in communications are even close to those of getting a $50m bird up and down without spilling someone’s OJ, but I thought there was something to this.  The vast majority of the people that I’ve worked with over the years have come from these counties (plus of course the “Advertising Industry Immigration Scheme” which sees media flooded by Nathan Barley and his mates from Shoreditch). 
 
I think it’s critical that people in our industry feel empowered enough to call a spade, a spade. God knows there are some Godzilla like egos in boardrooms around town, but I’ve found pandering to them rarely results in good work.  I’ve spat out the words “I hate it” in a creative review when I was definitely in the minority.  Not necessarily the most diplomatic approach but at least everyone knew where I stood.

Challenge ideas. Express your thoughts.  It will improve the work.
 
And hopefully you find that the PDI in your office isn’t too dissimilar to a cockpit.

Buenos Aires

Buenos Aires is a city coked-up to the eye-balls and I mean Coca-Cola. Coke is embedded so deeply within Argentinean culture that only beer seems to exist as an alternate thirst-quenching option.  Perhaps it has something to do with the humidity of the place, but all I know is that I experienced the cravings of a true addict in search of a hit.

Or perhaps it was the fact that my brain was overloaded with both explicit and subliminal messages to consume. It seems that brands can buy almost anything in third world countries; you can be guided (literally) by Sony Ericsson or Claro on every signpost, and find your way to a place to kick back and sip a beer (or Coke) at the Budweiser Bar.

I couldn’t help but laugh out loud, because as I sat studying my Spanish, I found myself surrounded by Swedish, North American and German brands. Although I saw the financial benefits of such brands infiltrating the local community, however a part of me was challenged to see the dominance of big brands winding their way across the globe, with the real money ending back in foreign pockets. After all it was the locals that made Buenos Aires so exciting to me. 

Through my caffeine high, I experienced a place that exceeded all my expectations. Buenos Aires has vibrant electricity that made me shift my ideas about my own lifestyle and perceptions. The simplest way to highlight the Argentinean way of life is by explaining the consumption of the Argentinean national drink, called Yerba Maté, (pronounce mar-tay).There is an intricate and highly stylised custom involved in consuming the tea. Maté is consumed and shared around in a continuous circle, whereby one person drinks from the communal glass then refills it with hot water. As I participated in the daily tea drinking ‘ritual’ I observed that everyone drank the tea to participate in the ritual, and everyone participated in the ritual to be united with friends, family or work colleagues- strengthening bonds and relationships. Indeed it brought to light the simple beauty of the South American way life. This gave me a euphoric travelling high.

Check video for more information. http://au.youtube.com/watch?v=trfgXXwKokc

While travelling alone overseas, I actively tried to be present in every waking moment and conscious of every experience. I wanted live each city, not just tick off a checklist. I embraced locals as well as fellow travelers as they shed light on interest and culture, such as two Argentinean guys I befriended who owned a funky clothing and art shop opposite my hostel. We shared conversations in Spanish from music to my love for Yerba Maté and they showed me where to eat, drink, dance and how to live the Argentinean way of life.

Just as travel can bond one to strangers, it can illuminate and strengthen the bonds that already exist between friends and family. After two weeks in Buenos Aires, I travelled with my sister to Iguazu falls. We shared a place where your senses are awoken by the luminous greens of the rainforest and we bonded under the kaleidoscope of rainbows and butterflies and the waterfall’s spray against our warm skin.

Along the Panama River, at a place where my caffeine withdrawals melted into the back of my mind, three river channels divides Paraguay, Brazil and Argentina. Here, the whole world feels like it’s within arm’s reach- and these days the whole world really is. However, one moment stands out in my memory where I didn’t feel that this was true. We found ourselves lost in the jungle after a spontaneous decision to take an “off the beaten-track” route back to our car from a look-out point. In this moment of both fear and excitement of the unknown, I realized that in all of my other travels I had an invisible safety net, made up from footsteps of previous travelers. Now, without that safety net, I was on a potentially dangerous hike and I asked myself; where no Coke signs exist, had no man conquered? 

If you can handle a place where empanadas are a stable snack, where mullets are in vogue and where man-on-man kissing is a customary and conventional way of greeting, then head to Argentina and find your own high.

- Farrel

Back to the Revolution

A few weeks ago my brother was in Sydney with an old school medium format film camera.  Fearing the negative effects of airport X-Ray machines on his undeveloped film (pun intended), he decided to have it developed before he went back to Canada. 

But when enquiring about medium format at camera shops and film development labs, he was met mostly with shoulder shrugs and confounded expressions.  Sure technological advances have created more efficient ways of producing images, but when photo labs aren’t even familiar with medium format film a red flag must be hoisted.

Perhaps the largest annual photography festival in North America is the Contact Toronto Photography Festival, running for the entire month of May.  This year’s conceptual theme is ‘Still Revolution’.  As the website explains,

“Much discussion throughout the festival has been focused on new technologies and the transformation of photography… Allured by many different claims, we’re compelled to explore the progression of the medium, to investigate what this image revolution is all about now.”

Some images at this year’s festival will likely broadcast an ironically revolutionary message:  Sure technological advancement opens new avenues for photography, but let’s not throw the baby out with the bathwater.  Is the next revolution going to be teaching how to develop film?

What does this have to do with communication?  There is something magical about an artefact existing in time and space rather than pixels and kilobytes. 

Whether it’s a handwritten note on personal stationary or a single Polaroid photograph in your hand, these vehicles of communication are not electronically syndicated.  This embeds them with a personality and contextual meaning impossible to convey in the digital realm.  Furthermore, their bespoke caché is enhanced purely by existing in the era of digital communication.

These tangible modes of producing images and messages could play an important role in how people want to communicate in the near future.  A physical note or photograph has renewed individual meaning and people are bound to gravitate back to them because of this.  I’m wondering how brands (and people representing brands) will be able to harness this newly reframed power.

…Now if I could only find a way to send my brother a telegram. Stop.

That would be just plain cool. Stop.