Open Letter to ad agency executives

Dear Mr. XXXXX,
I wanted to say thank you for your pitch. The part in focus that I wanted to discuss was where you said “Google and search is not everything”.
I understand your viewpoint, and I would like to discuss this further. When you have a chance could you call my google voice number. I have that number forwarded to my Google Android powered cell phone … while on the topic, I loved the idea of the app you discussed. Just make sure it runs on my Droid.
When you send over the document, I will make the edits in Google docs and make sure to run the media plan you sent over though Google Ad planner to double check the suggestions.
Regarding the commercial you presented to us, I need to send that to a few people here for discussion. If you could upload that to Google owned Youtube that would be great, just make sure to limit who can see it.
Regarding the billboard placements, that was a wonderful idea. Send me the locations so I can check them on Google Maps via street view to make sure it’s where we want them.
I really liked the beta webdesign you showed us, can you make sure that it renders properly in Google Chrome? When designing the site, don’t do it all in flash and make sure that it has unique titles and metas. I want to make sure we rank organically for our terms in Google. I agree with you that Google Analytics is the right way to measure the traffic and ROI from the campaign.
Also the discussion we had regarding mentions of our company in the press? We do feel that Google Alerts would do the job for us regarding that. As of course the press releases you send out will be in Google News.
You know, the more I think about this, the more I feel that perhaps I don’t want your advertising agency running the campaign. Perhaps we should hire an SEO firm for this.
Best Regards,
XXXXXXX

Coca-Cola|Happiness Machine

Humanitarian Brand Development | Cause Related Marketing Development — it’s all about love.

What if your brand is about a cause? What if your brand is humanity? What if your real messaging reach is love?

This is an overview of Girvin’s strategic thinking about the nature of humanitarian and cause-related branding strategy and tactics. There have been a series of talks and presentations offered that reach to this place of marketing, over the course of the last several years. Girvin, the firm, has been working on a layering of messaging and image development programs for cause marketing that have had both local and international applications. There are fundamentals to the premise of the cause, the humanitarian agenda and marketing and it comes down to this — the story, the embrace, the human and finally, most importantly, love.

Human brands: every brand begins with a human. The idea of love is about the furthest and most impactive level of compassion in relationship development. It is the ultimate sharing. The key to this connection gestures to resonance and relevance. To love, there is the sound of alignment — a note of familiarity is heard and sensed; and relevance is the relating, the carrying over of one to another — bringing something from one place to another. The beauty emerges in the sound, the quality of the symphony of connectedness — relationships are simply that: relation. Relating, too, connects to story — relating a story.

What of human? Human, the earth. From the latest iteration of the use, around1250, from Medieval French — humain “of or belonging to man,” from the Latin humanus, probably related to homo (gen. hominis) “man”. But there’s an added level, reaching back — humus “earth,” on notion of “earthly beings,” as opposed to the gods (cf. Hebrew adam “man,” from adamah “ground”). Cognately derived with Old Lithuanian zmuo (acc. zmuni) “man, male person.” To the first record of “humankind” documented from 1645. “Humanoid” (1918) is a hybrid of Latin humanus and Greek -oeides “like,” from eidos “form, shape” (see -oid).

That earthly connection is meaningful — it’s a foundational sentience, from which we began, from whence we come. And what of cause? From the Latin, causa — it’s about cause, reason, a judicial process. The idea of a link between the humanitarian and the sense of process aligns the earthly and intellectually reasonable. And therein lies the strategy — a bridge between foundation, the earth, beneath, the human arising and what action is followed in the dreaming that arises.

The distinct link is that sense of bridging — the search for meaning, the seeking of direction, the sharing of compassion — the acknowledgment of pain — and the quest for spreading the word, and the worldly, in embracing others. But that layering is — to metaphor — an unfolding, explication, or explanation, is a kind of unwrapping; a package, a story is made, and gradually revealed in the sentiment.

Story is the best bridge in virtually any connection — human to human, human to brand, brand to human; and surely, causal intimation to connectivity a gesture in outreach from humanitarian concerns. What that really comes to is how people — how we — explore and understand time, place and the relationship to other souls and our time on earth. Importantly, it is about reflection — that is, one story is your story, another story is shared; and the energy grows and spreads, from person to person. A beautiful thing.

My story is your story. You tell me your story, it becomes mine. And so it goes. The curious positioning is that people tend to think of their lives in a string of experiences — not facts, but stories. Large stories — bigger, mythic movements — and smaller cycles of stories, and micro-movements of telling. Of relating. Of carrying — passing to another. And that carrying is something that we move forward — the valuables of our lives — moving ahead in the advancement of our sensing of experience. This is your life, and how you tell it.

There’s more to it, the science of mind — and mind fullness, the beauty of how the sentience of our experience is framed, recalled, celebrated, cherished.

While I’m certain that many people are thinking — “geesh, I’ve heard that from you, all that story stuff”. But for me, this exploration, it’s not done, and it’s never going to be done. Given the power of the experience, and the continuing explorations of storytelling — it doesn’t stop, nor does the relevance subsume in time. It’s a mythic cycle; it’s a continuing journey; it’s a quest. And either you, your brand, your cause, has a quest, or it’s merely sitting still, hoping for something to arrive. But in the character of this level of story-told — tale telling — there needs to be a strategy of rippling. Stories ripple out — but so does the person, the legends spread, and finally, the brand itself.

Think of a structuring, in exploring the idea of the hybrid marketing of your causal enterprise; what’s at the center, what drives the spirit of the organization; and finally how does each relate? They should be, hopefully, the same — yet more tuned to each level of message. For example: establish a thread message, then tune the levels of that message so they become integrated, yet prismatic of the central thematic intention. But in this sentiment — it is just that: sense — a causal relationship between the messaging, the imagery and how that might actually feel. Feeling is where memory is stirred, embraced and held in the psychic space of experience. Brand is place. And humanitarian brand development is fundamentally about feeling — emotion, the movement of humankind — are captivated, magnetized in that sensation.

There is a subconscious attribute to everything we do — how we see, how we are seen, how we present ourselves, the language of our bodies and expressions. So in building any grouping of messages, creating the foundation of your branding mission — your promise — what drives you, what drives others and what drives your organization?

Finally, if there are drivers that empower the character of your brand, the fundamental challenge is about care. Literally, who does? Who cares? Knowing your audience, whereby simple interceptions, engagement and deeper research studies will help, it’s really about starting with the one — one person, then another, then a group, then dozens in a larger sense of embrace in exploration. Moving in, moving deeper, there are approaches for how you examine the patterning of how people connect; and what’s the deeper sensation of your mission. Your mission is merely your promise — they are etymologically reflective. To depth — there’s more; in how the mind works, how people recognize traits, trends, instincts and relationships — and to that, brands. This is where the metaphor — strategically, tactically — links to human mind and emotion. Surely, some people can articulately write their impressions — while others, reaching into the subconscious sensation of experience (and brand, causal or otherwise) can find a relating to a story and a quest for experience in relevance. Zaltman, an anthropologist who’s developed a trademark offering – to research, that’s worth exploring. My involvement with Zaltman’s examinations are through our efforts with Procter & Gamble and new product development and innovations. More on that front, here.

Stance. What is the stance — the standard — of your organization? The concept of standing goes back to the beginning — the notion of the human and the earth; what’s the ground that you stand on, and more so, to questioning — what do you stand for? The real point, to comprehending accessibility is the directed level in the way in which people grasp your message. How are your messages arrayed — how simply are they understood? This mapping suggests some exploration — a quick stringing of the levels, and the way, in which communications are nailed down — and expressed to the quick transit of relationship exploration of your brand expressions — in whatever medium they might be manifested. In which, to all media. How fast?

Feelings. Impressions. Touchpoints. What’s the instinctual way in which people touch you? How do they gather a sense of your enterprise — in many ways? Are each evaluated? Are the messages comprehensible — threaded? Consider the meaning that’s suggested in each of the message — for me, it’s a spherical symbolism. The idea of the messaging structuring will be seen — in scene — and sensed in the idea of a holistic grasp. Reading, touching, scenting, tasting, hearing, intuition, instinct, balance, memory. Wholly believable.

Let’s explore some brand developments. What of the idea of trying for a message that really revolves around the logo itself, as a single opening point of messaging? Working with my youngest brother, Matt Girvin, his role at Unicef and the Chinese Ministry of Health we created a symbolic reference to ignite a movement to solving one of the great crises of modern day China.

By the year 2000, through a relatively simplistic campaign of action and populace messaging, we instigated a predominantly visual campaign that could be recognized by everyone, from the lowliest country farmer, to sophisticated urban dwellers. The campaign focused on a “sunny mind” — the metaphor distinctly relating to the challenge of Iodine Deficiency Disease (IDD) — caused by the lack of iodine in the diet creating complications of “cretinism“. The iconic approach to treatment — our simple device — could be read to the leading campaign of educating all Chinese consumers on the notion of appropriately “fortified”, brightened minds. IDD was eliminated in the year 2000 in China. 1.3 billion people, 6 billion one kilo bags of salt per year. One logo.

Examining the concept of simple messaging and structuring communications, working with Richard Gere, and helping to create the Gere Foundation, we focused on delicacy — not pushing too hard; building a subtle layering of messaging, from color, identity, voice, donation structuring, quiet messaging, celebrity messaging, tools to spread the word and explore the artful capture of Gere’s remarkably striking photographic treatments. Explore, here. The idea is about softly implicating the character of the brand positioning, message, call to action, without aggressively overstating the case of humanitarian spirit.

This grouping of studies relates to a scenario in which Girvin worked on the creation of a new brand strategy for Heifer International.

That work ranges from mission and vision development, a renewed sensation of personality and tactical attributes (why and how), strategic considerations and planning, new identity and imagery, as well as naming consulting to the nature of the newly completed Heifer Village.

Importantly, the idea of treating the messaging premise is one of a holistic nature — thinking of every component as leading back to the promise of the power of that relationship. Given the challenges of the current economic climate, there’s been a shift in the site structuring — and perhaps this approach to offering, literally, the individual “here’s what you get” premise is more transactional to get the work done. Money in. Is that it?

I’d venture no, to assessment. More transaction, less emotion in humanitarian brand development is not the way to go — this marketing wholly lives in the compassionate and shared space of bridging incipient and excipient communities.

Girvin uses team collaboration of a group of brand colleagues to hold the promise of approach in building out alignment, empowerment, commitment and ownership in the sharing of ideas. This process is calledBrandQuesting®. We have been evolving this practice for nearly 20 years. The theory is cumulative explorations of emotional and strategic intention, to build on teamwork, and what we call a cumularity of minds.

This notion of accumulation is founded on the metaphor of clouds, literally: cumulus. By leading, moderating, facilitating and developing this approach to brandstorming, we can create alignments in brand, story and strategy that offers a unique balance between the concept of leadership coaching, marketing and business planning and the messaging and visual outcomes that will create results.

Working with the Kirlin founder, Dan Kranzler and a tactical team on the creation of the Seeds of Compassion brand, an inspiration emerged in the session, the foundation of the “seed” metaphor that built the premise of the thinking of the event itself. Workshops are custom designed to dig deep, considering the strategic unfolding of brand, story and messaging.

This notation of spirituality — the power of the human spirit — it goes back to the center, and indeed, the ideas that we explored in the beginning of this overview.

But in some attributes of spiritual dimension, it’s critical to build communications that are “relatable” that is — people, regardless of their spiritual heritage, might be willing to explore the thinking of the organization. Working with the United Jewish Communities, Girvin created an identity program and messaging structure to support a foundation of Jewish legacy, yet at the same time, reaching to others, as you might note in the current site modeling and message.

In our work with the UJA Federation, a similar communication modeling emerged, in all layers of expression.

But importantly, this expression structure lends itself to a new form — each level of the site reaches to creating another form of message.

Touch here, and there’s another component of communication, an attractive amalgam of text, photography and emotional negotiation.

Working early on with World Vision, the function of our work was aboutstrategy and intentionality — working into the inside of the organization, at the highest level — then creating an approach that was about direct and immediate outreach at the emotional level. Simple: Sponsor a Child Now. Not loud. But predominant in everything that is communicated.

There’s been extensive discussion about the idea of the human brand. And Girvin has been focused on this attribute of communication experience and brand management for decades. People are everything. Working with Trish May, Girvin explored strategy, story, positioning and naming support — and packaging — for the founder of the brand. There’s more to the story, here.

This human component figures prominently in other references — organizations for which a single leader exemplifies the brand, for example Ken Stuart — suggests a path in which leadership visioning is supported by a team and an organization, to build a path of messaging and visualization that is holistic, even to the point of creating environments. This branding positioning not only relates to the issues of storytelling in the spirit of science and biomedical research, but as well, the notions of placemaking in explaining the depth of the brand experience strategy.

Girvin’s original launch design, for the creation of BioQuest, a key storytelling and presentation experience portal to the overall spirit of the SBRI brand.

This selfsame messaging extends to website, and you’ll note below, the structuring shows an analyses of messaging and imagery to relate to the construct of the framing of the brand strategy and the outcomes. Here too, the benefits of the cumulative exploration of Girvin’s BrandQuest® methodology in building aligned leadership and community messaging.

Larger scientific initiatives can be more comprehensive in building plans that relate to holistic conjoining of multiple scientific programs, like Duke’s efforts in building one of the most powerful genetic research groups in the world.

That concept of brand unification was envisioned by Dr. Huntington Willard, and Girvin’s team met with a circle of scientists, leaders of various genomic exploration groups, to unite them under the aegis of a single cause, Duke’sInstitute for Genome Science & Policy. Girvin created the master branding document, as well as the opening website launch, campaign and visual materials in the form of collateral.

This conception of positioning assets — in this case, donation based channeling for the Pacific Northwest — is the fundamental imperative of The Seattle International Foundation. In this expression, to visual brand alignment, the modeling of the site components relate conceptually to the logotype of the organization, shifting to varying imagery and messages that relate to the group’s efforts — all based on the circle, the o, the ring portal. Girvin’s team worked directly with the founders, Bill and Paula Clapp, to initiate the strategy of the organization, the identity program and visual components.

Even the concept of story could be considered in the relationship of reviving legacy in the case of historical heritage — in this case, the creation of a website and video series that relates to the significant character of emergency care innovation — no, the invention of it — in Seattle’s Harborview Hospital.

I’ve outlined some conclusions below, that suggest a parting shot at the summary of our references in experience. And what could be your experience, in evolving the structuring of your brand, your story, your cause related marketing power, and finally the humanitarian branding initiatives of the future.

Love, finally, is everything.

tsg
….
Exploring the human brand:
http://www.girvin.com/subsites/humanbrands/

Levi's | Pop-up Closet

Advertising Agency: Mortierbrigade, Belgium
Producer: Veerle de Vos
Creative Direction: Jens Mortier, Joost Berends, Philippe Deceuster
Creatives: Tim Arts & Stefan van den Boogaard
Designer: Daan de Haan
Illustrator: Marianne Lock

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Batelco| what you can "be"

First established in 1981, Batelco (short for Bahrain Telecommunications Company), has grown to be the biggest provider of internet, mobile and telephone services in Bahrain, partly because until recently it was a monopoly, but now that two more mobile competitors are in place, Batelco needed to update its identity. Originally designed by Landor in 2003, the new identity has been designed by Futurebrand.

Our logo symbolises this bold direction by evoking the idea of what you can "be" with Batelco. Our new identity celebrates Batelco as a Bahraini icon, linking us in colour and with the letter B to our country. The bilingual logo, which reads as both an English and Arabic letter B, also resembles an infinity sign, further communicating Batelco's omnipresence throughout Bahrain.
— Futurebrand Project Description

English and Arabic (read right to left) versions of the logo.
The previous logo was remarkably dull and generic — but given that Batelco is owned by three Government agencies, it somehow seemed appropriate — and would have been impossible to convert into an exciting consumer brand. The new logo, in contrast, is remarkably strong and memorable. The "B" icon is simple and elegant and looks great big or small (perhaps it's a little too big in the lock-up, but that's a minor complaint). The infinity concept is good even if the execution strays a little from what we would all recognize as an infinity symbol, but the effort in making the icon look like a Latin and Arabic "B" (it's just the lower u-shaped part with the dot) is really nice. The wordmark verges on appropriate and weird, with the "e" and "c" standing out like sore, square thumbs against the other characters which have curved corners… I guess it could be worse. The applications, from web site to signage, feel stylish and trendy without going overboard. A pretty great update, even by infinity standards.

Launch event of new brand.

Pepsi Hit Refresh

In January 2010 Pepsi takes to the streets with one of the heaviest weight outdoor campaigns in Australia’s history: Hit Refresh.
Hit Refresh introduces the evolution of the renowned Pepsi globe logo with a massive outdoor campaign hosted by newly announced MTV VJ Erin McNaught and stable mate Darren McMullen.

Hit Refresh outdoor advertising encompasses large format billboards, bus shelters, street furniture, bus sides, bus interiors, mobile outdoor sites and will run from the first week of January to mid February.
While the outdoor headlines the campaign, the core of Hit Refresh is a partnership with youth channel MTV and a social networking based scavenger hunt, as well as online media, in-store media, in-store promotions and product sampling.
Through the MTV partnership, the pay TV channel has created and produced multiple television commercials (1 x 60, 2 x 30, 2 x 15 second). The Hit Refresh commercials launch from 1 January 2010 on MTV, VH1, Network Ten and Nine’s digital GO! Channel.   In the spots, MTV VJs Erin McNaught and Darren McMullen literally “Hit Refresh” by being transformed into a different scene each time they Hit an oversize Pepsi logo, or “Refresh” button.
The commercials support the HitRefresh.com.au website, the hub of a social network scavenger hunt via which consumers can win one of 101 Pepsi Refresh Cards loaded with $250 to “Refresh their world” however they choose – be it their style, lifestyle, destination, tunes, social life.
With over $25,000 worth of Pepsi Refresh EFTPOS cards up for grabs, the “Hit Refresh to Win” promotion takes place through 101 hunts over 40 days in 8 cities around Australia starting from 4 January and requires consumers to follow Pepsi’s twitter or Facebook pages.  Winning a hunt requires a consumer to locate and be the first to “Hit” the Pepsi Refresh button by following clues “tweeted”  & “Facebooked” during the hunt by a Pepsi team member, known as a Pepsi Refresher.
HitRefresh.com.au aggregates the Pepsi Twitter and Facebook sites in a single location to give consumers the opportunity to schedule hunts in their area and follow the clues. The activity is further supported with online media as well as street activations.
At a retail level, In-store media extends the reach of the outdoor into the retail environment both in and outside stores such as Coles, Woolworths, Caltex and 7-Eleven. PepsiCo Beverages business partner Schweppes Australia has activated account specific support and promotions in Coles, Coles Express, Woolworths, Woolworths Petrol Plus and 7-Eleven.  These will run in conjunction with a traditional route (up and down the street) trade promotion offering the chance to win a share of $25,000 in instant prizes.
Australia is the first PepsiCo International market to launch the new look Pepsi trademark across the four Pepsi brands – Pepsi Max, Pepsi, Pepsi Light and Pepsi Light Caffeine Free. The new look packs started appearing on Australian shelves in October 2009 and are a major update to the Pepsi globe which was created during the World War II period.
In the US, the new look Pepsi was launched a year ago during the American Presidential inauguration.  A year on, the latest US campaign – ‘Pepsi Refresh Project’ launches 1 February 2010.
The latest iteration in the Refresh Everything campaign sees Pepsi pull its entire Superbowl budget - a staggering US$20 million - in favour of a CSR initiative.  The move will mark the end of a 23 year investment in the game. The Refresh Project is a US-based campaign set up to reward those with big ideas for improving communities across the areas of health, arts and culture, charity, ecology, neighbourhood and education.

The campaign website will launch officially on January 13th on which users can submit their big ideas. From February 1st the public can cast their vote to decide the most worthy causes. Grants will then be awarded up to the total value of $1.3m per month over the course of the year.

The project will also be closely tied with an online reality show titled 'If I Can Dream' which will track five youngsters trying to crack Hollywood. Frank Cooper, SVP and chief consumer engagement officer, Pepsi-Cola North American Beverages said the show, which will be aired across Hulu and MySpace 'is one of many innovative ways the Pepsi Refresh Project will be featured in the digital space'.

The campaign follows the announcement by Pepsi that it will increase online advertising by 60% from 2009 expenditure. Cooper went on to say 'In 2010, each of our beverage brands has a strategy and marketing platform that will be less about a singular event, less about a moment, more about a movement'. 
Website www.HitRefresh.com.au
Twitter http://twitter.com/Pepsiaustralia
Facebook http://www.facebook.com/PepsiAustralia

How Ford Got Social Marketing Right

Ford recently wrapped the first chapter of its Fiesta Movement, leaving us distinctly wiser about marketing in the digital space.
Ford gave 100 consumers a car for six months and asked them to complete a different mission every month. And away they went. At the direction of Ford and their own imagination, "agents" used their Fiestas to deliver Meals On Wheels. They used them to take Harry And David treats to the National Guard. They went looking for adventure, some to wrestle alligators, others actually to elope. All of these stories were then lovingly documented on YouTube, Flickr, Facebook, and Twitter.

The campaign was an important moment for Ford. It wanted in to the small car market, and it hadn't sold a subcompact car in the United States since it discontinued the Aspire in 1997.
And it was an important moment for marketing. The Fiesta Movement promised to be the most visible, formative social media experiment for the automotive world. Get this right and Detroit marketing would never be the same.
I had the good fortune to interview Bud Caddell the other day and he helped me see the inner workings of the Fiesta Movement. Bud works at Undercurrent, the digital strategy firm responsible for the campaign.
Under the direction of Jim Farly, Group VP at Ford and Connie Fontaine, manager of brand content there, Undercurrent decided to depart from the viral marketing rule book. Bud told me they were not interested in the classic early adopters, the people who act as influencers for the rest of us. Undercurrent wanted to make contact with a very specific group of people, a passionate group of culture creators.
Bud said,

The idea was: let's go find twenty-something YouTube storytellers who've learned how to earn a fan community of their own. [People] who can craft a true narrative inside video, and let's go talk to them. And let's put them inside situations that they don't get to normally experience/document. Let's add value back to their life. They're always looking, they're always hungry, they're always looking for more content to create. I think this gets things exactly right. Undercurrent grasped the underlying motive (and the real economy) at work in the digital space. People are not just telling stories for the sake of telling stories, though certainly, these stories have their own rewards. They were making narratives that would create economic value.

The digital space is an economy after all. People are creating, exchanging and capturing value, as they would in any marketplace. But this is a gift economy, where the transactions are shot through with cultural content and creation. In a gift economy, value tends to move not in little "tit for tat" transactions, but in long loops, moving between consumers before returning, augmented, to the corporation. In this case, adventures inspired by Undercurrent and Ford return as meaning for the brand and value for the corporation.
Undercurrent was reaching out to consumers not just to pitch them, but to ask them to help pitch the product. And the pitch was not merely a matter of "buzz." Undercurrent wanted consumers to help charge the Fiesta with glamor, excitement, and oddity — to complete the "meaning manufacture" normally conducted only by the agency.
This would be the usual "viral marketing" if all the consumer was called upon to do was to talk up Fiesta. But Undercurrent was proposing a richer bargain, enabling and incenting "agents" to create content for their own sakes, to feed their own networks, to build their own profiles...and in the process to contribute to the project of augmenting Fiesta's brand.
Fiesta's campaign worked because it was founded on fair trade. Both the brand and the agent were giving and getting. And this shows us a way out of the accusations that now preoccupy some discussions of social media marketing. With their gift economy approach, Ford and Undercurrent found a way to transcend all the fretting about "what bright, shining object can we invent to get the kids involved?" and, from the other side, all that "oh, there he goes again, it's the Man ripping off digital innocents." It's a happier, more productive, more symmetrical, relationship than these anxieties imply. Hat's off to Farley and Fontaine.
The effects of the campaign were sensational. Fiesta got 6.5 million YouTube views and 50,000 requests for information about the car — virtually none from people who already had a Ford in the garage. Ford sold 10,000 units in the first six days of sales. The results came at a relatively small cost. The Fiesta Movement is reputed to have cost a small fraction of the typical national TV campaign.

There is an awful lot of aimless experiment in the digital space these days. A lot of people who appear not to have a clue are selling digital marketing advice. I think the Fiesta Movement gives us new clarity. It's a three-step process.

1. Engage culturally creative consumers to create content.
2. Encourage them to distribute this content on social networks and digital markets in the form of a digital currency.
3. Craft this is a way that it rebounds to the credit of the brand, turning digital currency (and narrative meaning) into a value for the brand.

In effect, outsource some of our marketing work. And in the process, turn the brand itself into an "agent" and an enabler of cultural production that is interesting and fun. Now the marketer is working with contemporary culture instead of against it. And everyone is well-served.


Grant McCracken is a research affiliate at MIT and the author of Chief Culture Officer (Basic Books).

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