Archive for the ‘Brands’ Category
31st October 12
In 1983 Celtic troubadours The Waterboys released a song called “I Will Not Follow”. I’m pretty sure it was a response to U2′s anthemic “I Will Follow”. Answer songs have a rather mixed history (though I’m grateful to the category for providing us with Roxanne Shante and Althea & Donna…), and I suspect “I Will Not Follow” was not The Waterboys’ finest moment Nonetheless, I admired their courage in taking on the emerging Titans of Rock. And I loved the sentiment. The determination not to go with the flow, not to follow the masses, not to get lost in the crowd. A passionate rejection of passivity. A celebration of the power of negative thinking.
When I was in my last year at College, thoughts turned to possible careers. It was the late ’80s and , in the wake of the Big Bang, there was a magnetic pull towards the Big Job in The City. It was natural, obvious, exciting. The dark satanic thrills .. I recall my decision not to apply for a City role felt more significant to me than any subsequent active career choice.
I used to interview young graduates looking for a job. I found that their CVs were curiously similar. When asked what they’d achieved in life, they’d say they’d travelled to Asia, captained the hockey team, and they liked skiing and reading. But when one asked what the candidate had chosen not to do, more singular answers were forthcoming.
Some of our most important decisions are the paths we choose not to take,the roads we refuse to travel. Our lives can often be best understood by mapping the things we didn’t do, the words we didn’t say. Perhaps we should more often consider a brand’s unspoken truth, quiet regret. Because in its silence and inaction may reside its strength and identity.
‘If you gave me a pound for all the moments I’ve missed,
And I took dancing lessons for all the girls I should’ve kissed.
I’d be a millionaire, I’d be Fred Astaire’
ABC – “Valentine’s Day”
My first job after College was as a Qualitative Researcher. ‘Brand elasticity’ projects were very much in vogue. Could this everyday family margarine perhaps be a cheese, or a biscuit, or a ready meal or a jam? With a sip of Chardonnay and a nod of assent, my respondents would consistently give the green light to a whole host of reckless innovations and insane brand extensions. And over the years the song has remained the same, even if the lyrics have changed. Could my brand be an experience, a portal, a membership club? Could it be a hotel, a hub, a content provider? Could it release a clothing line with rugged check shirts, boxer shorts and rain resistant outerwear? Isn’t my brand more a lifestyle choice than a yellow fat?
Curiously perhaps, research respondents find it easy to endorse our grandest aspirations. But then it’s not their money and maybe they’re just being polite. Sometimes it seems we need to be better at defining the limits of our ambition, at identifying the red line, the point beyond which we will not go. Sometimes we need to demonstrate more restraint, more discipline, more negativity.
Many Clients are instinctively suspicious of the negative perspective. Surely it betrays a lack of confidence, enthusiasm, ambition? In order to sustain consistency they develop processes and platforms, models and matrices, funnels and formats. But best demonstrated practice is often worst demonstrated imagination. Over the years negative thinking has inspired truly exceptional communication by the likes of Dunlop, Audi, Marmite, Volvo, Stella and Guinness. What would a world be like without this brand? Who are its enemies? What is its weakness? Whenever one is confronted by the bland, boring or undifferentiated, it’s always helpful to reach for a liberating ‘not’.
Of course in the age of the social web possibilities seem infinite. We want campaigns to be all embracing, 360º, holistic. We want to tick off platforms like some bizarre game of I Spy. We want all the colours in all the sizes. Yet I wonder if the democratisation of knowledge and opinion creates a kind of accelerated conformity: the Consensus of Crowds. Surely brand behaviour on the web would benefit from a little more negative thinking? Perhaps more discipline and self denial? Maybe we need to see more of the brand that likes to say ‘no’, the brand that will not follow…
Every morning I face the horrors of commuting as I change Tube at Kings Cross. Crowded, crushed, compressed. Downbeat, dour, depressed. In order to get onto my teeming southbound train into the centre of town, I walk along the less cluttered northbound platform. Periodically empty northbound trains stop and then recommence their journey out to the quiet leafy suburbs. I’ve always promised myself that one day I’ll jump on one of those empty northbound trains, make my way to the end of the line, find a caff and settle down to The Guardian, bacon, eggs, tea and toast. One day…
25th September 12
Author: Jim Carroll, Chairman, BBH London
My father worked for a time at a gasket factory in Romford. One Christmas he presented me with a corporate diary he had been given by an industrial felt supplier. Inside they’d printed their slogan: ‘You need the felt. We felt the need.’ I loved that line. I thought it was so funny, clever and beautiful at the same time.
I was at school studying for my A Levels: Latin, Greek, Ancient History. It was a robustly academic diet. I found that, having immersed myself in Homer, Horace and Herodotus, I was increasingly distracted by Essex fashion and soul music, pub banter and puns. I was drawn to the facile, frivolous and foolish. I guess it was a kind of mental displacement.
In the early ’80s, pop was revered anew in the UK. In the wake of the ponderous rock and precocious punk of the ’70s, we embraced ABC, Haircut 100 and Dollar with gusto. We believed in the beauty of the three minute pop song: shiny lyrics, shallow sentiments, shimmering production. We believed that there was an integrity in pop that raised it above the pretentious posturing of the indie crowd; that there was a kind of perfection in its brevity and wit. We believed that love itself was fragile, funny and transient.
Around about that time I determined that I’d one day like to work in advertising.
‘And all my friends just might ask me.
They say,”Martin, maybe one day you’ll find true love.”
I say,”Maybe. There must be a solution
To the one thing, the one thing, we can’t find”’
The Look of Love, ABC
In my 20s I noticed my social circle was narrowing and deepening. I was spending more and more time with a tight knit bunch of close friends. Although I greatly enjoyed their company, I became concerned that my conversation was increasingly predictable, that I was reinforcing my own prejudices and opinions. And so I set myself the task of developing a broad but shallow social set. I endeavoured to ensure that I saw a lot of friends infrequently. (I wouldn’t necessarily recommend this particular game plan. It was frankly rather exhausting).
Nigel Bogle once complained that Planning had a nack of digging down to Australia to discover the meaning of a paper clip. In my brief, and I have to say less than successful, tenure as Head of Planning at BBH, I endeavoured to address this. I transposed my ‘broad and shallow’ strategy to Planning: I encouraged the department to experience more things less profoundly; to work on more projects less intensively. Broad and Shallow Planning was to be my legacy to the strategic community. Strangely it was never widely adopted…
I guess I have always felt a little uncomfortable with the elevated status we afford brands nowadays. We talk of trust and love and ideals. Loyalty, passion, faith. Visions, missions, purposes. It sometimes strikes me as faintly bombastic. Brands as Wagnerian heroes. The Emerson, Lake and Palmers of consumption. The high concept action movies of marketing. Roll the credits. Lighters in the air. Cue the helicopters. Cue the smoke machines. Cue Coldplay. Cue Ghandi…
Surely not all soft drinks can save the babies, not all toothpastes can launch a thousand ships. Surely many brands have more modest roles to play in people’s lives. The fleeting glance, the quiet companion, the casual acquaintance. Shouldn’t we of all people be celebrating the inconsequential, the insignificant, the incidental? For these foolish things are truly the stuff of life.
‘A cigarette that bears a lipstick’s traces,
An airline ticket to romantic places.
A tinkling piano in the next apartment,
Those stumbling words that told me what your heart meant.
These foolish things remind me of you’
These Foolish Things, Eric Maschwitz & Jack Strachey
Finally, a word of caution. We have all learned to ladder up to higher order concepts and social goods. Ordinary, everyday brands get to leave behind base functionality, to sup with sages and kings. And often it serves a brand well to give it a higher purpose and social resonance. But beware the Icarus Effect. You may be playing with the Pomp Rock of Planning. In a Creds meeting once, I told a High Street optical retailer that his brand gave consumers the gift of sight. He excused himself and said he was due back on Planet Earth.
So don’t get me wrong. I love a big, ambitious, high ground, universal idea as much as the next man. I love brands with vision, confidence and courage. I’ve even nodded along to Coldplay occasionally.
But, just for once, let’s raise a glass to the little guys, to the not-so-crazy ones. Here’s to the inconsequential, the incidental and frivolous. Here’s to the modest, the momentary and fleeting. Here’s to swimming in the shallow end.
10th September 12
Posted in Brands
Author: Jim Carroll, Chairman, BBH London
It was striking that he painted quite a lot of pictures of women with their backs to the viewer. A powerful expression of exclusion, loneliness, unrequited love.
I spent my youth being turned away from London’s elite nightspots. Perhaps it was the sleeveless plaid shirt, the white towelling socks, the caked on Country Born hair gel. But the bitter sense of disappointment hasn’t left me. I can taste it now. And I learned more about clubbing from Spandau Ballet videos than actual experience…‘He was despised and rejected of men, a man of sorrows and acquainted with grief.’Handel, Messiah
As a young executive I was invited to apply for an Amex card. I applied and was duly rejected. Naturally I was confused and disappointed and I never spoke to them again. I’m sure consumers often feel a similar sense of exclusion from brands. Refusal and denial are shaming, embarrassing. The fear of rejection is almost as powerful as rejection itself. And then there are the coded gestures, the arcane language, the gender and cultural specific semiotics. The feeling that you don’t belong, that you’re not welcome here. It’s a private conversation, you wouldn’t understand.
I guess that’s why strategists so often recommend that brands are more open, inviting, transparent. We want brands to look us in the eye, to reach out from the canvas with a knowing glance and a welcoming smile. Easier said than done, of course.
Yet the turned back does not have to be all bad.
The Danish artist Vilhelm Hammershoi often painted a solitary woman with her back to the viewer. She goes about her daily routine in a quiet middle class home, lost in private thought. Hammershoi’s subjects seem more loved than feared. This distinctive reverse view gains its power in part from being so unusual. But also from the sense of intrusion on private time. The sense of seeing, but not being seen. It’s a little awkward, but also intriguing. Am I encountering her truest self, her identity freed of relationships, social constraints and concerns about appearance?
It reminds me of the oft’ cited quote from George Bernard Shaw: ‘Ethics is what you do when no one is looking.’ (I’ve uncovered versions of this quote from many sources. Henry Ford said ‘quality means doing it right when no one’s looking’. And of course, most recently Bob Diamond suggested ‘culture is how we behave when no one’s watching.’)
So how do brands behave when no one is looking? What would the brand encountered in a quiet room be up to? Would we find it dutifully engaged in customer-centric endeavours? Would its jaunty personality be sustained when there’s no one to impress? Would we discover an honest engagement with issues of citizenship and responsibility?
I’m worried that we’d most likely find the brand plotting a marketing and PR plan. I’m worried that in business as in politics too much thought nowadays is given to how things will play, how they will be perceived and reported. I suspect that too often the brand’s instinctive ethical and commercial compass has been replaced by recourse to brand image tracking and favourability ratings.
I appreciate this may be a curious thing for an adman to say. I should perhaps celebrate the triumph of modern marketing, the inevitable victory of perception in the All Seeing Age. Perhaps like a modern celebrity the smile must always be on, the guard must always be up. But it still makes me a little melancholy…
And what of Agencies? How do we behave when no one’s looking?
We are often perceived as conventions of feckless youth and superannuated yuppies. And I confess I was a little uncomfortable when Clients first started plugging in laptops, decanting lattes and working at our offices. I worried that they’d disapprove of our timekeeping, that they’d be offended by our cussing.But as more Clients have made the Agency their mid-week home, I think the Agency has benefitted. The Embedded Client often sees passion, industry, talent and integrity.They get to see our truest self. And it’s not as bad as they, or we, may have expected.
In the words of the great Brit Soul luminary, David Grant…‘I’ve been watching you watching me. I’ve been liking you, Baby, liking me…’
22nd August 12
Author: Chaz Wigley, Chairman, BBH Asia Pacific
It was about 2 years ago that Emma, Jim and myself started talking and writing about the ‘marketing wind tunnel’ that we as an industry seem to have gotten ourselves into (this blog has plenty of past pieces). The thinking being that, because we all broadly follow the same consumer insight led and validated process, we produce far more sameness than difference.
In the light of this, it’s fascinating to see Tyler Brule’s latest ‘Fast Lane’ piece in the FT where he inveighs against the same issues, but this time in the context of magazines, airlines, hotels and shops. It’s well worth a read for those who haven’t yet seen it (and always gratifying to see an FT journalist cry ‘Bullshit !’ on corporate excuses):
“Spend a bit of time at a US newsstand and it’s clear that the crisis in the magazine industry isn’t so much about plastering covers with hash tags, the problem is that everything looks and feels alarmingly the same.. We’ve come to a point in our popular and consumer culture where uniformity isn’t just stifling innovation, it’s also making consumers number and dumber.
…Magazines should focus on what their most loyal consumers are looking for – something new to read.”
From our point of view, many presentations and a number of articles later, the response we get from marketing teams is a consistent ‘Yes we agree, but how do we change things within the context of my organisation?‘ (sub-text: ‘where I don’t feel I have the power to do so myself ‘). Quite possibly the subject of our next initiative. Bring on the organisational change consultants!
26th June 12
Great brands have long understood that providing customers with enjoyable, differentiated user experiences is critical to winning their loyalty. Walk in to a Waitrose supermarket or Kohl’s store and there’s no comparison to a Tesco or a kmart from the layout of aisles, to the attitude of the staff to the products they do and don’t stock.
‘Screen’ UX offers brands a whole range of new opportunities to really deliver on their promises and strengthen their customer relationships. But too often this is a missed opportunity, we end up with experiences that are good but not great. They work, they conform to best practice rules & standards but if you take away the logo they are indistinguishable from each other.
Wind tunnel web design?
The screen shots above are from a recent Zag audit of the Personal Finance Manager (PFM) market but the point applies to plenty of other categories. Jim Carroll has spoken passionately here about the Wind Tunnel Marketing but are we also in danger of entering the age of Wind Tunnel Web/UI design?
We believe that the most effective way to avoid this situation is to put brand at the heart of UX, to use it as the north star to guide the myriad of interactions and touchpoints that brands create for their customers.
Of course this is easy to say, much harder to do. Here are 6 ingredients that we find help foster a successful fusion of brand and UX, based on projects we’ve worked on and projects we wish we’d worked on. It’s certainly not comprehensive, more intended as a conversation starter – we’d really like to hear about other ingredients that people find useful here.
#1 A proper understanding of your audience
This is obvious but too often people pay lip service to this area. You really need to know the needs, interactions and emotions that colour their experience of your brand and your category. And even more importantly is to have genuine empathy for them as PEOPLE not consumer/users. He’s not a 25-44 year old ABC1, he’s a proud dad who works to hard and reads to his kids too quickly on Thursday nights so he can go out with the boys and so on...
#2 A proper understanding of your brand’s purpose
Again obvious. But again too often this is more about platitudes than purpose. For this to work you need to have really asked the tough questions of the brand in question. Why is it really there? What is its role really?
Nike’s purpose is one of the best I’ve seen for this sort of thing. It’s inspirational, it’s directional and it’s very very stretching. Nike will never complete this mission but they are creating a lot of amazing products while they’re trying. The CEO Mark Parker was instrumental in pushing this mission through eleven years ago. It’s hard to see the previous one (‘to be the number sports & fitness company in the world’) being much use as a guiding principle for UX…
#3 Appreciate that the rules of branding have changed
When we say ‘brand’ we don’t mean a didactic set of messages, rules and templates to roll out over every touch-point. We mean a coherent set of guiding principles to help designers make the right decisions about what to say and what to do. Adaptable rather than monolithic. Otherwise the whole exercise will do more harm than good.
#4 Run a collaborative multi-discipline process
Every project has a different set of skillsets but one thing we’ve found always leads to better results is to keep it open and collaborative from the outset. So we make sure our graphic/digital designers are challenging (or even writing!) the business/brand strategy on any project from a very early stage. This helps avoiding the platitude/purpose issue touched upon early. If the brand strategy isn’t speaking to the people charged with bringing it to life then it’s probably pointless.
If you’ve got the above ingredients in place then you should be in a really good place to try and achieve something special, to make the brand thinking tangible and improve it:
#5 Create signature interactions
Flipboard is there to be beaten as an example of brand and UX. A clear vision to be a ‘Social Magazine’ that fuses the beauty and ease of the print magazine experience with the power of social media. The signature interaction of the gentle ‘flip’ movement. And it’s in the name!
Wonga’s ‘money sliders’ are another powerful example. They exemplify ‘straight talking money’ and a more down to earth approach to finance every time you to interact with them.
#6 Surprise people (in a useful way)
Everyone knows the situation. You’ve finally reached the end of a critical project phase. You are sending the authoritative, definitive email to all the stakeholders to wrap everything up, accompanied by the pdf of the amazing work…and then you send the email without the attachment and have to send another going “ahem’ here’s the attachment”. Except when I [Steve] was in the process of executing this understandable error Gmail stopped me.
You can be sure that anyone who’s experienced that bit of help will tell a lot of people and be more loyal to the brand in the future.
To us this is the benchmark in terms of moments of surprise and delight. Here is a brand using ‘screen’ UX to build relationships with their customers in as powerful a way as Waitrose are using their store experiences.
What are the equivalent moments for the brands you work on?
If you enjoyed this post then we should acknowledge the influence of inestimable @adamtvpowers, BBH London’s Head of UX.
21st May 12
Author: Jim Carroll, Chairman, BBH London
Memories light the corners of my mind
Misty,water colored memories
Of the way we were.
~ Barbra Streisand, The Way We Were
I attended the Damien Hirst show at the Tate Modern. Flies and fags, butterflies and bling, spin and spots, drugs and death… There. You don’t need to see it now.
I walked away somewhat hollow. I felt a pang of guilt and recognition. Guilt because Hirst was in many ways the adman’s artist. Art that came with a nudge, a wink and a knowing punchline. Art as quick hit, shiny bright, paper thin. Recognition because, yes, that was Britain in the ’90s. Spin doctors and Spice Girls, boy bands and man bags, heroin chic and Shabba Ranks, lads and Loaded, puffas and Prozac, Wonderbra and Wonderwall, alcopops and Posh & Becks. Fool Britannia…. There was no god, no beauty, no other. Just money and death and irony. Things could only get worse…
I’m not sure I blame Damien Hirst. I suspect he’s a very good artist. He was very effectively holding a mirror up to us and our values. Or lack of them. And I suspect each generation gets the art it deserves. Flies and fags was maybe all we were good for in the ’90s.
Don’t you also think that we get the advertising we deserve? As an Agency, as a Client, as a culture ? When we hark back to a golden hued, bygone age of celestial communication, are we not condemning our own failure to create greatness now? When the disappointed Client fires the disappointing Agency, isn’t he or she shirking personal responsibility? When we rail against cruel fate and happenstance, when we bemoan the recession, or reach for the blame gun, shouldn’t we be looking in the mirror first?
I believe in commercial karma. That, broadly speaking, in advertising as in life, we reap what we sow. That what goes around comes around. Not for some spiritual, counter cultural, gaia-type reason. But because, though it seems trite to say it, in the long run, smart, open minded Clients, working with intelligent, lateral Agencies, for honest, worthwhile brands, will make better, more effective work. And vice versa.
I guess I have witnessed exceptions to this. The craven creative, the malevolent marketing director, the bullying business director have on occasion won the day. But overall in my experience fakes are found out, charlatans are shopped. Good prevails.
Instant karma’s gonna get you
Gonna knock you right on the head
You better get yourself together
Pretty soon you’re gonna be dead
~ John Lennon, Instant Karma
Of course in the past one had to wait for hubris to be followed by inevitable nemesis. Nowadays the social web has created a kind of instant karma. Because the courtroom of public opinion is so immediate and all seeing. It shines an unforgiving,instantaneous light on the ill conceived and poorly executed. It likewise rewards the virtuous with currency and value.
I had always believed that Corporate Social Responsibility was exactly that: a responsibility that a business owed to the communities it served. I wasn’t so enamoured of more fashionable phrases like social investment because I didn’t feel ethics needed commercial justification. And I wasn’t convinced CSR had a role in marketing or brand.
Now I have been persuaded that ethics are more than a responsibility. They are fundamental to a brand’s sustainability in a transparent, socialised world. Because increasingly consumers are unwilling to buy good products from bad people. Because in a world of commercial karma only the good Clients, good admen and good brands can win.
2nd March 12
Author: Jason Gonsalves, Head of Strategy, BBH London
Our first ad for The Guardian broke on Wednesday night. It’s basically a product demo taken to epic proportions, re-telling and shedding new light on the classic story of the 3 Little Pigs. If you haven’t seen it already check it out and see what you think. Then below I’ve shared the thinking behind the work for anyone interested in hearing a little more.
Readers of this blog need little convincing of the merits of citizen journalism, crowd-sourcing and open platform collaboration. Nowadays eye witness accounts are shared instantly with the world through Twitter, whilst Google Alerts or new destinations like Gawker and Huffpo offer an alternative to traditional news brands. What’s more, we all know the broader Newspaper industry is struggling. Print circulations and revenues keep falling, and for most the business model simply isn’t working. Add to that mass criminality and corruption, and the long-term diagnosis looks terminal.
All this starts to beg the question, where does that leave a newspaper like The Guardian? It has to continue to be far more than simply an aggregator of opinion and comment. It’s an innovation business almost two centuries old, one looking to lead the global news agenda and set an example for how modern brands should behave.
Our brief was to help cut through preconceptions, engage new readers by bringing to life The Guardian’s remarkable transformation over the last 10 years from a left-wing, British newspaper to a global digital news hub.
This change has been driven by Alan Rusbridger, The Guardian’s editor and is built on a belief that in the modern world no single organisation can possibly claim to be sole arbiter of truth, with experts journalists working in isolation to pass down the day’s news to the masses. Instead, for The Guardian, modern news is a dynamic, participative and open dialogue in which the public and other news sources enrich and expand stories, inviting response and opinion. It’s open and mutual rather than closed and didactic. It’s iterative and alive rather than final and definitive. It’s multi-platform and digital first.
- Whilst most newspapers jealously guard the stories they are planning to cover, The Guardian now publish their news lists online daily, encouraging both public and experts to get in touch with their journalists if they feel the have something to contribute, advise on or just to have their say.
- When the MPs Expenses Scandal exploded, The Guardian swiftly built an app that enabled the public to get involved, sift through receipts and flag anything they decided was worthy of investigation.
- During Arab Spring, in addition to providing content from its journalists in the field, The Guardian invited Arab commentators to share their views and blog, in Arabic, on the Guardian’s platform.
- The Guardian’s open platform enables anyone to access data collected by the Guardian as well as providing a search tool so that users can search for government information from around the world. It also encourages readers to upload their own data visualisations or share their favourites.
Whilst The Guardian represents open news, it remains a brand with a point of view, with a role and purpose that is more, not less, important in today’s world. Rather than benefiting shareholders or a proprietor, the Guardian is owned by the Scott Trust which ensures that profits are reinvested to sustain journalism that is free from commercial or political interference. The trust, which was formed in 1936, and is named after CP Scott (Editor between 1872 and 1929) protects the Guardian’s commitment to a set of values that can be summarised as honesty, cleanness (today interpreted as integrity) courage, fairness and a sense of duty to reader and the community. Scott’s famous words “Comment is free, but facts are sacred” remind us of the importance of accuracy and truth in a world where information and opinion is ubiquitous. Relentless inquiry is the responsibility of organisations that want to set the news agenda, they must stop at nothing to get the bottom of the stories that matter. Nick Davies did just this – he was the Guardian journalist who spent 5 years finding and checking evidence and withstanding threats to uncover the truth behind the ’phone hacking at the News of the World.
If you couldn’t tell already, I’ll admit personally to being a huge fan. But I believe as digital innovators, creative pioneers, and champions of civil liberty and reform The Guardian is a rare and precious thing that deserves support. The story of the newspaper industry as we know is unlikely to conclude with a fairy-tale ending, but the Guardian is definitely painting an exciting vision of things to come.
Client Credits – The Guardian
David Pemsel, Marketing Consultant
Richard Furness, Head of Sales and Marketing, The Guardian
Anna Hayman, Marketing Manager, The Guardian
Media Buying Agency – PHD
Toby Nettle, Media Planner
Creative Agency – BBH
BBH Creative Director: David Kolbusz
BBH Creative Team: Matt Fitch & Mark Lewis
BBH Producer: Davud Karbassioun
BBH Production Assistant: Genevieve Sheppard
BBH Head of Strategy: Jason Gonsalves
BBH Team Director: Ngaio Pardon
BBH Team Manager: Alex Monger
BBH Team Assistant: Katie Burkes
BBH Creative Team (Print): Carl Broadhurst and Peter Reid
BBH Head of Art: Mark Reddy
BBH Designer: James Townsend
BBH Print Producer: Sally Green
BBH Creative Director: David Kolbusz
BBH Head of Strategy: Jason Gonsalves
BBH Team Director: Ngaio Pardon
BBH Team Manager: Alex Monger
BBH Team Assistant: Katie Burkes
Production Company – Rattling Stick
Director: Ringan Ledwidge
Producer: Chris Harrison
DoP: Franz Lustig
Editor/Editing House: Richard Orrick (Work post)
Post Production (Graphics + CGI effects): The Mill London
Sound Design: Will Cohen & Sam Brock
Music: Phil Kay (Woodwork Music)
5th August 11
Author: Neil Barrie (@neilbazza), Director, ZAG
I spent the first half of my adult life to date, playing in bands and the second half planning brands, most recently at Zag, the brand ventures division of BBH.
After an awkward adjustment period where I tried to deny all existence of my previous life and its accompanying streaked mullet jpegs, I’ve recently been finding that I actually learned a lot of useful things in those years in the Highbury Garage. Here they are:
# 1 Develop your dynamics
Listen to any AC/DC, song, especially Back in Black and you are listening to a lesson in dynamics. The space, the drums, the shifts, the CRUNCH – you can’t help but be moved by it. Loads of massive rock tracks owe a lot to soft/loud dynamics from Babe I’m gonna leave you to Teenage Dirtbag. Boys in particular like this sort of thing. The laws of rock dynamics are directly applicable to any presentation. It’s a good discipline to think “where’s the bit where the chords come crashing in?” and “how can I make this section feel more like ACDC?”
2nd August 11
Posted in Brands
Author: Jim Carroll, BBH London Chairman
‘O sleep,why dost thou leave me?
Why thy visionary joys remove?
O sleep again deceive me,
To my arms restore my wand’ring love’
I recently attended a concert in which these words of Congreve were sung in a beautiful Handel aria. I’m sure we can all relate to the sentiment: sleep is a place of joyful deceptions and re-found loves; it’s a place for escaping, forgetting, recovering, refocusing. However harsh the work environment, however stressful the unrelenting day, I have always been sustained by the promise of sleep, its welcoming embrace, its warm repose. In fact I have a singular talent for napping at will and I have inherited from my mother the habit of the Sunday afternoon kip. I like to drift off on the sofa, newspaper on my lap, to the sound of children’s chatter and roller bags from the pavement outside.
I have long felt that sleep is an area of untapped opportunity for brands. We spend a third of our lives sleeping, but we’re increasingly concerned by our ability to get enough of it, at the right quality. One can’t help but be underwhelmed by the plethora of scented candles, quack remedies and orthopaedic pillows that currently constitute the ‘sleep sector’. Can’t we do better than this? Surely space is not the final frontier; it’s sleep. Read full post