Posts Tagged ‘Jim Carroll’
28th July 14
Posted in leadership
Author: Jim Carroll, Chairman BBH London
I am not a leader.
It took me many years to realise it. Indeed I was in a position of some responsibility when the truth dawned. I finally understood that I am in a relationship business, but I’m uncomfortable with relationships; that I shrink from delivering bad news, when I should be characterising it as good; that I am emotionally squeamish, when leadership requires psychological strength. I was a disappointment to myself.
Despite, or perhaps because of, this revelation, I have remained interested in the art of leadership. What defines a great leader? How do you spot leadership potential? Can you train it, learn it, define it? I’m aware that a wealth of airport management books endeavour to answer these questions, but I confess I’ve never felt compelled to read them. Let me offer my own, admittedly simple, perspective on the subject.
In the course of my career I’ve been fortunate to have worked with quite a few great leaders. And I have to say that, on the face of it, they have little in common. Some were passionate and visionary, others were practical and pragmatic; some were sensitive and personal, others were pugnacious and combative. None was in any way a perfect paradigm. Indeed all have been flawed, often in very engaging ways.
But there was one particular thing they all shared. Their leadership style was consistently an extension of their own strong personalities. They were authentic, but they were also larger than life. Their very real virtues had found a louder voice, a bigger stage. They were hyperboles of themselves if you like.
Leadership in my experience is The Amplified Self.
This analysis has led me to a relatively straightforward piece of advice for the aspirant leader: establish what you’re good at and do it in a bigger, bolder way.
And yet this is easier said than done. ‘Know thyself’ was inscribed above the Temple of Apollo at Delphi. It was a resonant maxim precisely because self knowledge is so difficult to achieve.
I probably spent the first ten years of my career working out what I had to offer professionally. However much my appraisals identified the occasional virtue, I couldn’t help concentrating on the cited shortcomings. Because they were the same shortcomings year after year: a sluggishness with spreadsheets and Harvard Graphics, a lack of commercial rigour in my arguments, a failure to make eye contact in meetings. Like a diligent student I would concentrate on addressing my weaknesses. But however hard I tried, with every passing year my appraisal changed very little. And I never did win that IPA Effectiveness Award…
I think there comes a point in everyone’s career when we give up addressing the faults we cannot correct, the blemishes we cannot wipe clean. The point in one’s career when one focuses on building on strengths and virtues, accentuating the positives rather than eliminating the negatives. And I think that’s the point that one finally gets to discover one’s true leadership potential.
If you think you have the charisma, stamina, vision and appetite to lead, don’t spend your time reading the text books, mimicking your predecessor, emulating your hero. Don’t be someone else’s shadow, their pale imitation. Don’t try to be someone you’re not.
Look in the mirror. Isolate your truest strengths, the ones that set you apart, that make you unique. And turn those strengths up to eleven.
Be your own Amplified Self.
30th May 14
Posted in strategy
Author, Jim Carroll, Chairman BBH London
First published in Advertising Week Europe supplement
I knew a man who never blinked. It was quite discomfiting. I’d not considered blinking that important until confronted with its absence. This chap just seemed a bit odd, a little lacking in emotion. Was he perhaps an android? When talking to him I couldn’t avoid the impression that he was unnaturally certain of his own opinions. And that that blind certainty was what I was finding unattractive. I realised that, whilst I like the self-assured, absolute certainty can be troubling, alienating, disturbing.
I guess that’s why I’ve always responded better to leaders who, though boundlessly confident, exhibit a sensitivity to risk and doubt, a consciousness of paths not taken. I’m rarely convinced by absolute conviction.
For similar reasons I feel certainty in advertising has always been fool’s gold. Claude Hopkins wrote Advertising Science back in the 1920s. And science has given us analytical tools and techniques that have dramatically enhanced our understanding of consumers and our ability to communicate effectively. But, however much we may wish it, science has never given us certainty.
I recently attended a stage adaptation of the great Henry Fonda movie, 12 Angry Men. At its heart it’s a celebration of reasonable doubt, and an indictment of the unreasonable certainty that so many people carry around with them. I was struck by the idea that reasonable doubt is a force for good in society. Because life is an ongoing navigation of trade-offs, dilemmas and contrary preferences. Life isn’t about certainty.
In our business I’ve seen how, many a time and oft’, the quest for unreasonable certainty has actually fostered doubt and indecision. The pursuit of total proof can close windows of opportunity and analysis paralysis can inhibit bold leaps forward.
Recently we have all been redesigning the marketing model. We have embraced the vision of a customer engagement system that is more connected, more targeted, more knowing and less wasteful. Something that learns, creates, adapts and distributes in real time. But we should not imagine that any new model will deliver unreasonable certainty. All models need ideas to animate them. And the best ideas occur at the intersection of logic and magic, at the meeting point of rationality and emotion.
What is exciting about the modern age of marketing is the opportunity it affords us to explore this happy interaction between art and science. At BBH we’ve been talking a lot about High Performance Creativity. We believe that technology enables a more intimate relationship between creativity and performance, and that that intimacy will generate better, more effective work. We believe that data should not just be big; it should be strategically insightful and creatively inspiring. We believe that performance measures should not be backward looking proofs, but live, forward-facing guides. We believe that, while High Performance Creativity cannot promise certainty, it can deliver incredible potency.
I’m reasonably certain about this.
2nd August 13
Author: Jim Carroll, Chairman, BBH London
Like many people I was amused by Rory Sutherland’s recent piece in The Spectator, in which he suggested it might be a smart strategy for Agencies to recruit graduates with lower class degrees.
Sutherland argues that there is no evidence that ‘recruits with first-class degrees turn into better employees than those with thirds’. Graduates with lower class degrees are in fact undervalued by the market and as a result they’re less expensive and more loyal.
I thought I might contribute my own perspective to the debate and indeed my own trusty Recruitment Tool:
In my many years of working with Strategists, I have established that very smart people can reduce highly complex conundra into quite simple challenges. In this animal porno respect they have something in common with the less-than-intelligent, who see the world simply despite its many sophistications.
I have also observed that those with moderate-to-medium levels of intelligence can perceive complexity in every aspect of every problem.
This has led me to conclude that the only useful Strategists are fools or geniuses….
28th March 13
Author: Jim Carroll, Chairman, BBH London
Why assign your own name to a brand? What drives the founders of eponymous brands? What lies behind the success of the successful?
These are questions addressed by Branded Gentry, an engaging new book by Charles Vallance and David Hopper. The book comprises a series of interviews with people who ‘made their name by making their name into a brand’. The likes of Johnnie Boden, the founder of the casual clothing company, James Dyson of the innovative household appliance brand, Jonathan Warburton of the baking dynasty, and our own John Hegarty.
I found it a refreshing read. Conventional business books encourage us to think of commercial success in terms akin to scientific case studies. We isolate key learnings, critical success factors, best demonstrated practice. We are introduced to models, mantras and metaphors. We are given a picture of achievement which is ordered, constructed,
Branded Gentry invites us to consider the psychology of the founders of successful brands. Their relationship with their parents, the view from their childhood bedroom, the emotional milestones that mark out their career. Each chapter is a character study, an elegant pen portrait of often charismatic, compelling individuals. Consequently it paints a picture of success that is disordered, spontaneous,
instinctive. And of business that is personal, passionate, human.
The decision to give one’s own name to a brand is significant. If brands are fundamentally about trust, then a brand that carries a founder’s name has a particular sense of integrity. The tag-line of Warburton’s bread is: ‘We care because our name’s on it.’ And as Boden puts it, ‘If you don’t believe in your name, how can you expect other people to give you money?’
Inevitably perhaps, there is a consistent theme of ‘failing forwards’. Tripping up on the way to success, maybe being humbled by mistakes, but also seeing in them learning and experience. The eponymous brand owners come across as enthusiasts. They’re often breezily confident and positive about life. Many of them seem more emotional than you might expect, more active listeners.
But there’s also a dark undertow. A wariness of good fortune, a suspicion that bad times may be round the corner, a fear of debt (which many of them have experienced). The Branded Gentry are restless souls. Listen to James Dyson: ‘I’m not satisfied; I’m still not satisfied. The moment you’ve done something, then you’re onto the next thing, which is full of new problems you’ve got to solve …It’s a life of failure and dissatisfaction whatever your private wealth’. Or as the potter, Emma Bridgewater, puts it: ‘The trouble with being an entrepreneur is that you never think you’ve finished. You’re always thinking of things you haven’t done… I’ve got a lot of parallel lives unlived, but you suddenly realise it’s probably not going to happen. It’s the inherent sadness of ageing.’
I guess I had imagined that success came easily to the successful; that they had had a leg-up from life, a helping hand to get them started. In fact I was rather struck by the fact that, whilst some of these entrepreneurs were born into material wealth, most of them had rather tough childhoods.The broken home, the lezbiyen porno unsympathetic father, the parents that passed away before their time. Illness and ill fortune seem never too far away. (Dyson points out that over 80% of British Prime Ministers lost a parent before the age of 10, compared to only 1.5% of the general population.)
I grew up committed to a clear separation between work and life beyond it. Of course in the modern age it’s increasingly difficult to sustain the divide. For these Branded Gentry life is work and the eponymous business is fundamentally an expression of self. According to Dyson, ‘I had developed a latent desire to make things around me better and that desire was the very part of whom I was.’ The authors conclude that their subjects ‘didn’t go out into the world to fit in with it. One way or another, they set out to make the world fit them.’
Branded Gentry is very well written. There is a commendable amount of descriptive detail and direct speech. One often feels one is in the room with the interviewee, observing his or her furniture, inflections,
physiognomy. I welcome the book’s commitment that business is about people not just processes, passions not just practices. For Vallance and Hopper the personal is professional.
26th February 13
Posted in Insight
Author: Jim Carroll, Chairman, BBH London
“Some people feel the rain. Others just get wet.”
I recently saw the Bob Marley documentary that came out last year. Insightful, inspirational, touching stuff.
I was quite struck by a story relating to The Wailers’ early career in Kingston. Their manager would take them to rehearse late at night in the local cemetery. He believed that if they could conquer their fear of ‘duppies’ (spirits), they could also conquer any stage fright.
We often talk of advertising as a business fuelled by confidence. And it’s true. Confidence gives you the courage to be honest, to be different, to challenge conventions. Confidence is the foundation of sustained success.
But I have also found that the reverse is true: agencies run on fear.
Fear of corporate change, competitive threat and Client whim. Fear of forgetting, of fluffing one’s lines. Fear of fashion, of falling behind and falling apart. Fear of failure. Fear that the latest success may be the last. Fear of complacency, of hubris. Fear of lost relevance. Fear of irrelevance. Fear of redundancy. Not just losing your job, but losing your utility. Fear that your best years are behind you. And your worst meeting is in front of you.
As Nigel Bogle has been wont to warn, even in the good years, ‘We’re three phone calls away from disaster’.
I still go into every presentation with an awkward feeling in the pit of my stomach. And under sustained pressure I develop painfully itchy shins. Hardly the romance of a saint’s stigmata. Faintly ridiculous really. But nonetheless a physical manifestation of stress, anxiety, doubt.
John Hegarty once bumped into our Levi’s Client in Reception. The Client said he was worried because the proposed print route was a bit risky. Rather than reassure him that it wasn’t at all dangerous, John said, ‘You’re right. It is risky. I’m worried it might even be a mistake, possibly a disaster.’ And then he marched briskly on to his next meeting.
I think a successful business should be fuelled by confidence, but oiled by fear. The one delivers ambition, the other insures against complacency. I’m drawn to the same qualities in people too: I like enthusiasm, appetite ,optimism; tempered by a little self doubt, angst and humility. (‘Once a Catholic…’, I guess…)
“The truth is, everyone is going to hurt you. You just got to find the ones worth suffering for.”
But whilst fear in moderation may be useful, attractive even, fear in excess is paralysing, corrosive. You see it in the eyes of the team whose competence has been questioned, whose business has been put up for pitch, whose job is on the line.
So I suspect we could still do with a little singing in the cemetery. We still need a means to confront our darkest paranoias, to defeat our deepest doubts. Of course in teen porno a modern, sanitised age we don’t have ‘duppies’, ghosts and ghouls. Maybe, post Freud, just articulating our misgivings is healthy. Maybe we ought to give more time to sharing our angst, anxieties, apprehensions.
Maybe I’m just singing in the cemetery right now…
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 hard porno 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 hd porno 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 rokettube porno 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…’