ID-ology’s new location, come check it out!

The new ID-ology is at www.IDbranding.com/idology

We’re relocating our blog to www.IDbranding.com/idology and we’ve made some great new improvements that allow our readers a better glimpse at who we are and what exactly our agency has to contribute to this whole branding thing. Our entire archive of articles has been migrated to the new site–so don’t worry about losing any of our classic posts, its all there waiting for you. Thanks for listening, learning, and contributing, we’ll see you at the new ID-ology!

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When is marketing not just marketing?

How about when it’s used as an expression of affection, like in the picture above?  Or how about when someone else uses it to propose marriage?

This June, we worked with Powell’s Books, the great Portland institution of higher reading, to create a brand experience that would deepen customers’ relationships with Powells, and guide the in-store customer to consider using the online store, Powells.com.

The idea is fairly simple on paper (execution was not quite so simple): we create a photobooth-type experience inside the store that lets customers have their picture taken in front of a green screen, and then we fill the background with a shot of the Powells City of Books store front with it’s big marquee. And on the marquee we put the names of the people who were photographed, as if they were among the elite number of authors who’ve had their name up in lights at Powell’s.

And then we email them a link to to get a hi-res file of the image. In return, we ask for their email address. Along with the link to their picture, we also send them a 20% off coupon for shopping at Powells.com.

Obvious question: why wouldn’t customers just take their own picture in front of Powell’s? First off, they’d be a dark spot in the middle of a very busy Burnside Street if they tried. Second, they wouldn’t get their name on the marquee.

So, we launched this in late June and, after working out some bugs, we found that people who love Powell’s love the photobooth. And, happily, a lot of people love Powell’s. People were also very happy to get a 20% discount coupon. So this particular marketing program seemed to be doing its job.

What makes it more than just a marketing program, however, is the way in which nearly everyone who gets their picture taken comments about how “Powell’s” the whole experience is. “Only at Powell’s” is heard frequently. “This is such a Powell’s thing to do” is also heard. As well as, “How Portland.”

And that’s the magic to this experience.  Portlanders feel a sense of ownership of Powell’s, and they proudly take their visiting-from-out-of-town friends there. In turn, these visitors often deeply associate Powell’s with Portland. It is, in fact, a beloved institution, for both local and visitor alike. And both see this photobooth as a gift from Powell’s, a memento of their visit. So while it is a marketing tool, it’s also a way of making the Powell’s experience more Powell’s-ish.

So much so that the other day a man used the photobooth to propose marriage to his future wife. Seriously. Look at the picture: I don’t think it’s an ironic act, either. That’s when you know that you’re not just creating marketing, you’re creating an experience that deepens the meaning of a brand that already has a significant place in peoples’ lives.

If, as brand builders, we can do more of this and less marketing, we can give our audiences what they’re really looking for. Which is experiences, and brands, that matter to them. Thank you, Powell’s, for being such an adventurous partner in this.

– Doug

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You need kevlar undies these days

It’s looking like branding as we come out of the recession is still not for the faint of heart or weak of bowels.

Good Lord. I sure felt the truth of this over the last several weeks. And it looks like the new Forrester report called The Future of  Agency Relationships confirms it.

We recently started working with a new client and straight out of the gate we’re launching an important promotion and ongoing brand experience that no one either here at ID Branding or there at the client has ever done before. In fact, the more experts I talk to in hopes of smoothing the process a bit, the more I’m finding out that no one has ever done this. Not exactly this way.

Great.

But this is exactly what the new era calls for. We all better plan on living in a whole lot of uncertainty from now on. Because our audiences out there are demanding that we invent on their behalf, and that means not just the messages or the visual effects or the casting and sound track, but the experiences themselves and the venues for these experiences. (I’ll get more specific about this project in a future post if my client says it’s OK.)

Suffice to say, we are figuring this thing out as we go. And it’s been bumpy.

Now, I’m used to doing that in situations like a commercial shoot when you’re working with the production company to figure out how to put a 16 mm camera into the middle of a fast-flowing steam so you can shoot migrating steelhead underwater as they pass up stream. And then determining that you’re going to have to buy the fish and release them. And finding out there aren’t steelhead available, but you can get a tanker truck of really big trout, which is close enough.

And after that’s solved there’s the question of finding the damsel fly or dragon fly in the script, but the production company comes up dry and you’re lucky enough to have seen a lake loaded with them when you were scouting for locations. And so it goes, for maybe a few days. Pure unadulterated scramble.

But this is now becoming every day, not just production week. And if we’re doing our jobs right, we’re constantly doing something we’ve never done before. On a much bigger scale. It’s exhausting. But it’s also damn exciting.

That’s kind of what the Forrester report is saying, but in a much drier fashion and with much more scholarly authority and a bit more jargon. I’ve only read summaries and commentaries on it, but that’s enough to start a conversation with my fellow branding people about it.

Edward Boches has got a nice handle on it and it’s reinforcing what he’s been doing over at Mullen. He calls it Adaptive Brand Marketing. It’s reinforcing what a lot of us have been trying to do recently. And it’s helpful because it’s clarifying and articulating some of the challenges we’re all going to be facing together, side by side, agencies and clients. And that can be soothing when things get bumpy. Which they will.

Because uncharted territory is our new home. Thank God I’ve got a great client who is willing to co-conspire with us, rather than demand flawless execution at every turn. Because the only way you can be flawless is when you’ve done something over and over again. And that’s exactly what ISN’T going to cut it anymore.

It reminds me of the days when I was part of an interactive agency called Paris France. Everything we did was something we’d never done before. This was from 1999 to 2003, and the interactive brand experience was in its infancy. We were constantly wondering how we were going to pull off what was in our heads. We repeatedly turned to a slew of experts like the Flash wizard Phillip Kerman to help us figure things out.

And that’s what we’re doing with this current promotion event — we’re calling in all kinds of experts and friends and just figuring it out. And watching for results. And measuring. And then making tweaks and changes as necessary. Trial and adjustment.

The days of knowing are over. We are all sailing off the map, and it’s pretty exciting, as long as our clients are willing to be explorers with us and get wet. As the Forrester paper points out, “agencies and outsourced partners will become more important than ever (the world is too complex to figure it out alone).”

Man, that is so true.

– Doug

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The “I think it’s finally summer” reading list

OK, the sun came out yesterday. And again today. I can’t promise it’ll stay, but I think it’s actually finally summer.

Portland just had the wettest May in history and broke the record for the wettest June by the 16th of the month. We’ve  had no sign of summer until now.

So, with the new-found sun we finally get to post our summer reading list. And here it is:

Flipped: How Bottom-Up Co-Creation is Replacing Top-Down Innovation. John Winsor.

Just began this one, but it’s looking good already. Written by the man who started Radar Communications, which was bought in 2007 by Crispin, Porter, Bogusky. Just recently helped start the crowdsourcing agency Victors and Spoils. Promises to challenge most of what you think and know about how branding should happen. Victors and Spoils has just attracted Jon Bond (as in Kirshenbaum Bond & Partners) as an investor. These guys have something up their sleeves, and it ain’t paper flowers. A must read.

Chief Culture Officer: How to Create a Living, Breathing Corporation. Grant McCracken.

What? You haven’t read it? What’s your problem? He’s telling corporations to hire the cultural capabilities we agencies are supposed to own. He’s describing a job most of us would want. And if you haven’t discovered the other writings of McCracken yet, or his blog, I hope you’re a professor of medieval history somewhere. (Mmmm…medieval history.) Sheesh. Get this book.

A Thousand Plateaus: Capitalism and Schizophrenia. Gilles Deleuze and Felix Guattari.

Yes, we’ve started it before, but who ever finishes it the first go-round? Or ever? But if you want to know who predicted the whole future model of branding and brands, you need to read this. Actually, you only need to read the first chapter on the Rhizome. Because it’s the second-best metaphor (after “culture“) for how brands need to act and live in this era. Benefits include looking like a mysterious post-modern philosophical type to the babes (of either gender) on the beach. Also good for crushing greenheads on Plum Island, or for swinging at Donny Deutsch to keep him away from your girlfriend in the Hamptons. Impressive tome.

Plenitude: The New Economics of True Wealth. Juliet Schor.

Yes, she’s an economist. But her book doesn’t read like she is. Except it’s smart. I heard her on NPR and had to pick it up. She could turn your head around about all kinds of things, especially your definition of sustainability. As in, human sustainability is connected to economic and environmental sustainability–surprise! You might just decide to work less and raise chickens as your own small way of preventing the next Gulf oil disaster (or personal disaster). Provocative indeed.

Designers Don’t Read. Austin Howe.

We’re reading this because some of us haven’t read it yet. Soon all of us will have read it. And by all of us, I’m including you. Reading Mr. Howe is like eating pots de creme. It’s absolutely delicious and over far too soon. Austin has abandoned his own people (advertising) to live with the Others (designers). Find out why. A must read for everyone going into or still slugging away in the business of branding. Each (short) chapter even tells you how many minutes it will take to read it. (Not many.) Yum.

Envisioning Information. Edward R. Tufte.

OK, it’s not his latest book, and it’s not new, but people here are reading it for a reason. I don’t know what that reason is because I haven’t read it. But Melissa, our senior strategist, highly highly recommends it. And Josh, our creative director, thinks everyone’s already read it. Is he right? (Oops, not quite.)

Livability: Stories. Jon Raymond.

Josh admits that he’s promoting the book of his co-editor of Plazm magazine, but I told him that was OK, as long as he was actually reading it, which he assured me he was. A review on Powell’s says: “These nine gorgeous stories from novelist and screenwriter Raymond find pallid Northwesterners testing the moral perimeters of their decent lives.” Beach-y, don’t you think?

Business Model Generation: A Handbook for Visionaries, Game Changers, and Challengers. Alexander Osterwalder.

This is another Melissa recommend. Josh asked if maybe putting it on our list was giving away a secret, and Melissa said No, everyone should read it. Melissa is smart, so I guess I’m going to be reading it. Sometimes I’m a Game Changer, but mostly I’m a Lyrics Changer, which drives my wife crazy. Ignore my digression and listen to Melissa.

The Design of Business: Why Design Thinking is the Next Competitive Advantage. Roger L. Martin.

I found this on Dennis’ desk. So he must be reading it. He just left for a Disneyland vacation with his family. So that might be an indicator that The Mouse and this book don’t go together. I don’t know. Looks interesting. Smells new. Got that nice, new tight binding when you lift the cover. And he’s emblazoned his name on the top of the pages with a Sharpie, so he’s committed to it. Ooh, and it’s published by Harvard. Dennis has good taste in books so that’s a recommend.

That’s it for now. Dive in, bibiophiles, and read your summer away.

– Doug

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Clients, we’re willing to die on your behalf

I just watched the movie Pirate Radio, with Philip Seymour Hoffman et. al. Clients, if you want to understand the commitment of creatives to great work on your behalf, watch this movie.

In it, the disc jockeys are willing to go down with the ship to keep playing rock and roll on behalf of the audience. This is a direct metaphor for how creatives feel about the work they do on your behalf.

They, like the djs in the movie, are professionals. They have devoted their lives to understanding what your audience really wants from your brand. They are the very select number of people who get it at a cellular level. They have spent their careers understanding the nuances of what is great and what is crap — just like the djs in the movie. They have gone through hell to get the training and then to work at the agencies that will allow them to hone their skills, their instincts, and their insights. They have done what doctors or lawyers or mergers and acquisition experts do to learn their craft and to become experts. They have made immense sacrifices, often in terms of significant dollars, to work at places that value their contribution, rather than work at places that just care about placating the client.

Yet so often, because what they know is not something you too can know, their expertise is dismissed. Dismissed because you, the client, don’t understand what they understand. And you shouldn’t. Because we are all called to play different roles based on our different capabilities. We cannot play each other’s roles. Because we are not all the same people.

We need each other. And we need these differences.

But no role in the branding game is more easily dismissed and belittled than the creative’s role. Because it is not a quantifiable, measureable, linear, or scientifically provable role. It is a role whose value can only be recognized through faith.

Faith that someone is really good at something we don’t understand. And faith that they are sincere, as well as skilled.

I have, in twenty years in this business, really never worked with a creative who was cynical and jaded and manipulative. I have worked almost exclusively with people who deeply cared about creating something great on behalf of the client and their brand. Why? Why have I not seen the very thing that so many clients fear — the self-serving, award-seeking, career-improving creative?

Because the truth is, creatives are the same rare creatures you see in Pirate Radio — people of immense integrity and of silly, ridiculous idealism. These are people who are willing to spin their own intestines into something meaningful and delightful. People who might, in a wartime situation, be considered ideal canon fodder because they are so idealistically committed to what they’re doing.

And so they march bravely forward, as if bullets or the north sea could not cut them down. As if what they do is important, and valuable, and really necessary. They pour their very essences into what they do. Because they know, and they are right, that this is what your audiences hope they will do.

Your audiences are dying for wonderful things from your brand. These creatives are willing to make it. And so often they are met with a cynical doubt. A cynical dismissal. A cynicism that projects itself upon these people as if they, too, must be just as cynical as you are.

Will these creatives always be right. No, not always. Will they be right more often then they’re wrong? Absolutely, especially if they’ve been informed by strong strategic insights. Will they ever be intentionally leading you down the wrong path? They’d rather die.

So, you might not go along with everything these creatives show you. But by God you’d better not doubt that they totally and completely believe in what they’re showing you. And you’d better not delude yourself that you know better what your audience wants than they do. Not if the strategic insights were strong. Not if the brief was right.

This is the one thing that, in my experience, clients do not understand. Except the good ones. And God bless the good ones. Because you’ve got a creative department that will die on your behalf. I will die on your behalf.

(There’s a literal as well as an emotional truth to this. A recent study shows that working the kind of hours creatives work leads to a 60% greater risk of heart attack.)

I hope you can start to understand this, and possibly appreciate it.

– Doug

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Interviewed by AdPulp

David Burn, who writes an advertising blog called AdPulp, has just posted an interview with me talking about Portland and advertising and such. His blog offers an important perspective on this business of ours and is another way to keep up with what’s going on in adworld.

Thanks for the opportunity to ramble, David.

– Doug

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Email out, direct mail back in

OK, for those photographers out there who didn’t believe me when I said creatives hated email blasts from Adbase and preferred a postcard with an image, here’s a recent post on the subject.

– Doug

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Let’s Get All Ancient Greek

I couldn’t sleep last night, so I started reading the ancient Greek philosopher, Parmenides.

Parmenides

My sense is that Parmenides represents a part of the Western business mind that has been lost.

In his preface the translator, Stanley Lombardo, says ” Men like…Parmenides…did not distinguish science from poetry or religious experience from philosophical understanding. They represent an older cultural type – in many ways they resemble Siberian and American Indian shamans – that disappeared from the Greek world in the classical period…”

Lombardo goes on to characterize the work of Parmenides, which reports of a visit and conversation with The Goddess (to the ancient Greeks, she was very real and very serious stuff), as proposing that “the universe and our minds form a mutually committed whole.”

Yep, that’s the major takeaway from his surviving fragments of writing. Parmenides was describing a picture of the world and how to act in it. It’s a very simple perception. Yet it forms the core of some of the most enduring belief systems humans have created. The universe is all a unity.

When Socrates was a young boy he actually met Parmenides and described him as “a man towards whom one feels reverence tinged with awe.” It struck me, reading his work last night, that the strength of Parmenides is his simplicity. As Western philosophy advanced, it got far more complicated, but it didn’t necessarily get any wiser.

It seems the shamans, visionaries, or, as they have become in the last thousand years, the artists, have been

A scapula used in divining

more and more marginalized from our society as a whole over time. Today we call them the “creative class.” It used to be, in Inuit cultures, that when the hunting party couldn’t find the caribou, no matter how hard they looked, the shaman would throw a caribou shoulder blade (scapula) into the fire, pull it out, and read the cracks in the bone. It’s called scapulimancy. He would then tell the hunting party where to hunt next, no matter how little sense it made to the hunters. Often the shaman was right.

As my beloved Intro to Cultural Anthropology professor revealed, what was really needed at that moment was a significant change up in how the team was thinking. If they kept hunting where they expected to find caribou, the whole community would starve. The shaman helped them get beyond their own rational minds and try hunting in a new place.

Business, over the last several hundred years, has lost that kind of thinking. Business has (and I’m not the first to say this) homogenized itself so that it’s a bunch of really bright, really rational people talking to each other in the same language with the same ideas. But the most creative minds are not included. What business can deny that? All the alternative thinkers get separated out back in high school and college. The future business leaders essentially tell them they can take their weird selves and go form a band or wrap a building in fabric or something.

Much to our mutual loss. Because the business conversation today needs some radical, quantum leaping, right brained shaman-type artistic philosopher thinkers. It needs creative minds. And, mostly, if those people have gone into business they have gone to advertising and design and interactive agencies. Yet they’ve mainly been trained to create campaigns, not to solve sticky, complex business problems.

If business had the advice of someone like Parmenides, would so many of them have managed to completely lose their moral bearings and disregard consequences the way they have? If people who intuit the complex interconnectedness of the world had been integrated into leadership, would so many inexcusable actions have been taken with so many people hurt in the name of a quick profit? Would so many businesses be so out of touch, as they are today, with everything Western Civilization has held dear since its inception?

The Parmenides of today is working in the truly adventurous agencies, the ones which are bringing together all the disciplines to create a powerful problem-solving organization that thrives on teamwork and collective intelligence. These are the people business needs to round out their mind, and they’re already here and ready to go to work. But the clients need to ask them to solve more than just the question of what the next campaign should be. And the agencies need to train their people to be brilliant on behalf of any problem, not just brilliant at advertising.

Bob Schmetterer talked about this in his book Leap: A Revolution in Creative Business Strategy. Essentially he talks about the need for advertising agencies to win a seat in the board room. And to do that, they have to generate creative business ideas. Various agencies are moving more toward that model. We’ve been doing so for the last several years here at ID Branding. But it’s all still quite new. And it is vital, in so many ways, that this new model succeed. Because it’s more than the repatriation of a resource. It’s a healing of the Western business mind. A unification, once again, of the rational and the creative.

– Doug

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Anything change recently?

So here’s something I’ve learned in a new way recently. It’s that we, the advertising, branding, design and interactive firms of the world, are being re-valued by our clients every day. It’s like there’s a stock ticker inside the client’s head and the numbers are constantly going up and down.

Not that clients haven’t always evaluated us, but it used to happen over much longer intervals. Once or twice a year rather than constantly.

I’ve seen two Portland agencies shut their doors in the past year, both of which had been around for decades. And I think I see another one teetering on the brink.  Many others have cut back employees or cut back pay.

Heck, we’ve all had our scares recently. But I think the problem is some agencies are assuming they’re offering value to their clients when, in the client’s head, maybe they were yesterday, but not today.

It can be very unsettling to embrace doubt and self-questioning. It’s one of the great paradoxes of this business – that we must act boldly and confidently and yet we must constantly wonder if we could be doing things differently.

An agency can go from attracting millions of dollars in revenue one year to closed down the next. And,

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Creative Class vs Artist Class?

Interesting article by D.K. Row in today’s Oregonian about the dilemma of artists in Portland. Seems they are having a hard time supporting themselves beyond a minimum wage subsistence level.

Once again, Mr. Row, you are diving into a juicy issue, and God bless you for it.

Linda K Johnson

“There are plenty of hand-to-mouth jobs in Portland for 25-year-old creative types,” painter Linda K Johnson is quoted as saying. “But what if you want to have children and own a house?”

Yeah, no kidding. It’s why a lot of artists leave Portland for New York or LA. Want to be a full-time artist and eat? For many the answer is to get outa town.

In the article local economist Joe Cortright distinguishes between the creative class and arts professionals. The creative class, he points out, is a term coined by Richard Florida and Daniel Pink to describe “a highly-educated twenty and thirtysomething creative work force of right-brained analysts, not traditional, information-based white-collar attorneys and engineers.”

Richard Florida

And, goes the Florida theory, where the creative class flourishes so, too, does the city. Yet arts professionals (or artists) aren’t exactly part of the creative class, as Cortright points out. Mostly because they don’t tend to work at Allied Works Architecture, Ziba Design, Wieden + Kennedy, and the other well-known and successful creative businesses in town. They tend to work at galleries, arts organizations, colleges and universities, and the like. And those jobs are few and dwindling.

At the heart of all this we can hear artists like Johnson saying, how come I can’t get a job that pays me enough to buy a house?

To my mind, the fields I’ve worked in, namely graphic design, advertising, interactive and branding, have always held out a chance for artists to get money by serving commerce. Yet these fields frequently fail to realize this potential.

Francis Ford Coppola

I remember a great interview a decade or more ago with Francis Ford Coppola. He said, in a nutshell, that you can always tell where the power lies by who’s employing the artists. In medieval days, for instance it was the church. “Today,” he said, “it’s advertising.”

And he was right. Although, with the recent upheavals in advertising, that might be revised to be more inclusive of the branding arts in general. I always imagined this was what Dan Wieden wanted intended when he and David founded Wieden & Kennedy.

After all, Dan was a poet who found himself working at Georgia Pacific, wearing

David Kennedy + Dan Wieden

bell bottoms and burning incense. His Dad was an ad guy (back when Gerber Advertising was a name to be spoken with pride), and Dan didn’t want any of that career. At least this is how I’ve heard the story told most frequently by the people who were around back then. Dan was, well, a bit hippyish. A bohemian. A poet.

It just so happens he and his partner David formed one of the most important creative agencies in the history of advertising.

I always thought that, as a poet, Dan was looking to give artists like himself a job doing way cool stuff. And then, in my fantasy, Dan wanted them to have the time and energy to continue to create art.

Art work by Peter Wegner, former copywriter

After all, why would a culture want to lose the contributions of its artists? What kind of culture would that be? Instead of losing the artists, agencies could give jobs to artists, who would be serving commerce, and in return, commerce would allow the artist to make art.

Painting by Storm Tharp, current (?) art director

Except it didn’t quite work out that way. Wieden + Kennedy evolved into a place where, if you weren’t working, you were sleeping and eating. Maybe. Sometimes both at your desk. Suddenly Wieden + Kennedy was borrowing artists on behalf of commerce without giving them either the time or energy to produce art.

It then became a choice. Either you worked at W+K or you were an artist. Peter Wegner, copywriter, left the business to go to New York. One of the few exceptions to that has been Storm Tharp, who somehow managed both. But my understanding is that he’s only partly at W+K, now that he’s reached a certain level of success as an artist. (This is just what I’ve heard.)

Sadly, this whole healthy and sustainable arrangement between art and commerce was completely in my head. No, Dan never implied such a promise. I was only being hopeful that this was his intention.

The beat poet Lew Welch worked at Leo Burnett and penned "Raid kills bugs dead"

But the question remains: why do artists working on behalf of commerce, making significant salaries, have to be completely consumed by their job for the agency to be successful? Why is this the only model? Why can’t arts professionals train to be creative class careerists and take a reduced salary to only work a mere 30 or even 40 hour week, instead of the 60 to 80 typical at W+K?

The problem is by no means just a Wieden one. All the truly creative agencies, where an artist could hold on to some shred of dignity, tend to expect a Bataan Death March from their employees each week. Long ago Chiat\Day invented the saying, “If you don’t come in on Saturday, don’t bother coming in on Sunday.” At Crispin, Porter, and Bogusky, the standard work day for creatives is 10 am to 5am, Saturday and Sunday included. They point with pride to the futons rolled up in their offices. No exaggeration.

Why? I think it has something to do creating the best work possible, which is certainly noble and right. I’m sure someone will point to the short lead times imposed by clients. (But aren’t we training them to expect that?) There’s some major self-aggrandizing going on. I also think there’s a healthy chunk of machismo in all this. And maybe, just maybe, a bit of avoidance. Or a lot of it.

After all, if you’re an artist working on behalf of commerce and winning accolades left and right and making buckets of ducats, yet your muse is sitting at home feeling pissed off and neglected, it’s sometimes easier to just work harder than to face such a deep-seated conflict. It’s easier to forget yourself in work than to think about how maybe you won’t accomplish what you were put on this earth to do.

I believe there’s an alternative. There has to be.

We need the creative brains of artists as the demands of branding become more multi-faceted and complicated. Much of the communication between a brand and its audience these days resembles installation art more than a print ad or TV spot. Yet our culture also needs art.

I figure that if a branding agency can find a way to make it work so that artists could serve commerce and still serve their muse, there would be a whole lot more highly creative people available to us, and over a much longer career timeline.

Conversely, if artists knew they could both make a living and practice their art, a whole lot more of them would probably be willing to train at VCU Brand Center, Miami Ad School, Creative Circus and other portfolio centers to learn the skills that make them employable.

Just a thought. Personally, I hope ID Branding can be a place for such artists. We’ll see if we can sustain this idealism as we grow. Maybe I’m crazy, but you know what, maybe I’m not.

– Doug

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