• The "Fling" is the first new chocolate bar Mars has introduced in more than 20 years – Wrapped in a shiny pink and sliver package, this delicate "chocolate finger" is intended for women. The word "finger" is an industry term for a long, slim confection, Mars spokesman Ryan Bowling says, but with ads that invite you to "Pleasure yourself" in pink lettering, consumers might come to other conclusions.

• Mass Customization of the Fiat 500 – A number of folks we recently met in Europe mentioned this new (although an updated classic) car as being perfect for their needs. The variation and customizing, while perhaps not unique in today's marketplace (I'm imaging the Mini's variability is similar if not beyond) was still striking: "The 500 is available with four different trim levels: Naked, Pop, Lounge, and Sport. Customers can choose also between 15 interior trims, 9 wheel options, 19 decals, and 12 body colours. There are over 500,000 different personalized combinations of the 500 that can be made by adding all kinds of accessories, decals, interior and exterior colours, and trims."
• Searching for Value in Ludicrous Ideas – Allison Arieff writes about "inventor/author/cartoonist/former urban planner Steven M. Johnson" whose "work tends toward the nodes where social issues intersect with design and urban planning issues." I'm reminded of my formative experiences with Al Jaffee features from MAD magazine where he's describe future products or technologies, or explain (fancifully) the workings of some current product (i.e. bars of soap that are made with quick disappearing stuff on the outside and then a small interior core that takes a long long time to dissolve).
• Traffic: Why We Drive the Way We Do (and What It Says About Us) by Tom Vanderbilt – Suggested to me by René Vendrig at the Amsterdam UX Cocktail Hour, after my talk on looking at cultural differences based on everyday observations. He tells me "It is about traffic, but the real subject is human psychology and how we deal with that kind of situations."
• It's Not TV, It's HBO – HBO's standard-creating slogan, giving words to the premium experience of their programming.
• It's not just coffee, it's Starbucks. – New ad campaign for Starbucks attempts to differentiate on quality, but sounds just a bit familiar.
• All This ChittahChattah | Flying the sneaky skies – (see link for screen grab)

  While checking in online for a United Airlines flight, you may be offered the opportunity to upgrade to Economy Plus. It’s likely that most people decline upsells in many situations, though. The default would be to click “no thanks” and move on to completing the transaction. But United has done some tricky and manipulative interface design. The bright yellow arrow with bold text placed on the right is almost irresistible. E-commerce sites have trained us to envision a transaction moving from left to right (granted that they’ve landed on that model since it corresponds to how we read and other cultural factors); it’s very easy to click on the arrow and make a purchase you didn’t want. It takes cognitive work to search for the preferred option which is a lowly blue-underlined unbolded text link off to the left.

• Evil-interface design in airline website design spanked by European Commission – "Another common problem is the use of prechecked boxes offering services like travel insurance; consumers must uncheck the boxes to remove the unwanted charge." I've written before about United's website being slightly more subtle in their evilness, by offering an upgrade during check-in where the highly visible (colored graphic arrow) button in the default location will cost you tons of money; it's more effort to realize, locate, and decline the offer. Why do we live in a world where major brands want to sell us things that we don't want by tricking us? It's unconscionable that any company can claim to respect consumers and then pull crap like this.
• Cyd Harrell of Bolt | Peters reacts to the ludicrous Dell campaign trying to sell computers to women, in 2009 – "…a woman, with the last Dell I will ever own. It’s my current laptop, and I chose it because I needed a computer powerful enough to run screensharing tools and high-res video; I needed mobile broadband to stay in touch with my clients and employees, and not just my kid (heresy!); I needed my screen to look great when I go to meetings with clients. That is to say, I needed it for work. Dell, let’s make it official: you can bite me and the millions of other women who take themselves and their technology seriously."

  I love the articulate passion here, as well as the insight into what may have happened organizationally/culturally at Dell (ahem, really crappy research) that leads to such a horrendously offensive sales pitch to HALF of their buying population

Hot, Flat and Crowded

The Real Thing?

I started seeing and photographing these coke bottle simulacra last summer. I wonder: will the Coke bottle be as evocative an icon for future generations if they come to know it primarily as a flat form?




Zippo Lighter; Gene Simmons Coke bottle from France; Classic soda fountain sign

Related posts:
Swallowing innovation
Candy-coated history
Putting research results back on the shelf

• Vermont's first IHOP gets permission to go beyond standard franchise menu and offer Vermont maple syrup – “You can’t open up a Vermont pancake shop without Vermont maple syrup,” said Sam Handy Jr., who is the restaurant’s general manager and whose family owns the franchis
• Symbols of pot-subculture on the threshold of the mainstream – The significance of April 20 dates to a ritual begun in the early 1970s in which a group of Northern California teenagers smoked marijuana every day at 4:20 p.m. Word of the ritual spread and expanded to a yearly event in various places. For fans of the drug, perhaps the biggest indicator of changing attitudes is how widespread the observance of April 20 has become, including its use in marketing campaigns for stoner-movie openings (like last year’s “Harold & Kumar Escape from Guantánamo Bay”) and as a peg for marijuana-related television programming (like the G4 network’s prime-time double bill Monday of “Super High Me” and “Half Baked”). Events tied to April 20 have “reached the tipping point in the last few years after being a completely underground phenomenon for a long time,” said Steven Hager, the creative director and former editor of High Times. “And I think that’s symptomatic of the fact that people’s perception of marijuana is reaching a tipping point.”
• Chinese government database doesn't recognize all the language's characters, creating 60 million edge cases – New Chinese government computers are programmed to read only 32,252 of the roughly 55,000 Chinese characters. At least 60 million Chinese with obscure characters in their names cannot get new ID cards — unless they change their names to something more common. Since 2003 China has been working on a standardized list of characters for people to use in everyday life, including when naming children. A government linguistics said the list would include more than 8,000 characters. Although that is far fewer than the database now supposedly includes, the official said it was more than enough “to convey any concept in any field.” About 3,500 characters are in everyday use.

• Survey Says Baby Boomers Think Playing With Your Blackberry During A Meeting Is Rude – The 'tude in the blog entry about the survey is as interesting as the 'tude the survey's creation and content point to. Social norms shift and that gets introduced and changes the way people interact gets put through the social norm filter: is it rude? Is it distracting? Should other people stop doing it? Or should we get over it? This just points to the transition we're going through rather than offering any clear sense of what's going on. Full disclosure: I'm a Gen-Xer and I bolted from a boring presentation a few weeks ago when the person behind me tapped on the shoulder and asked me to stop using my iPhone as she found it distracting [I was discreetly using Google Reader in my lap].
• Gartner's Hype cycle – a graphic representation of the maturity, adoption and business application of specific technologies – Hype cycles characterize the over-enthusiasm or "hype" and subsequent disappointment that typically happens with the introduction of new technologies.They also show how and when technologies move beyond the hype, offer practical benefits and become widely accepted.

  Five phases of the hype cycle
  1. "Technology Trigger" —A breakthrough, product launch or other event that generates significant press and interest
  2. "Peak of Inflated Expectations" — Frenzy of publicity typically generates over-enthusiasm and unrealistic expectations; There may be some successful applications of a technology, but there are typically more failures
  3. "Trough of Disillusionment" — Fails to meet expectations and becomes unfashionable
  4. "Slope of Enlightenment" —some businesses experiment to understand the benefits and practical application
  5. "Plateau of Productivity" — benefits become widely demonstrated and accepted

• Airwalk footwear – In the mid-90's, Mann left the company. After his departure, the decision was made to "go mainstream" and focus on a more general audience rather than just creating shoes for sport enthusiasts. There was a brief rise in sales, but some people loyal to the brand found the mainstream designs questionable.
• What happens when underground brands go mainstream – Wharton marketing professors David Reibstein and John Zhang have been exploring how early adopters react when a product goes mass-market. When is there a backlash? When do early adopters switch to new products and when do they stick with the brand?
• Personas for Firefox | Dress up your web browser – Finally, a definition I can live with: Personas are lightweight, easy-to-install and easy-to-change "skins" for your Firefox web browser.

• Listening to customer feedback? Twenty-Five Years of Post-it Notes (Thx, @susandra) – In '77, 3M decided to test-market. It failed to ignite interest. “When we did the follow-up research, there just weren’t a lot of people saying this was a product they wanted.”
  "We knew the test markets failed, but we just kept saying, ‘Maybe it was us. Maybe we did something wrong. Because it couldn’t be the product—the product was great.”
  To see for themselves how people responded to Post-it Notes, 2 execs cold-called offices, giving away samples and showing people how to use 'em. The responses were more enthusiastic. “Those things really were like cocaine. You got them into somebody’s hands, and they couldn’t help but play around with them.”
  1 more test was in order. They got newspapers to run stories about it. They festooned stationery stores with banner displays and point-of-purchase materials. 1000s of samples were sent to office managers, purchasing agents, lawyers, etc. People demonstrated it to potential customers. It was a huge success, and 3M decided to launch Post-Its.
• Listening to customer feedback? Peter Arnell Explains Failed Tropicana Package Design – Big outcry over the Tropicana packaging design (which this suggests was NOT tested but that's hard to believe) led to a return to the previous packaging.
• Listening to customer feedback? Malcolm Gladwell on the Aeron chair – The Aeron chair was originally despised and deemed ugly. It didn’t catch on for 2 years, and then it quickly became the most popular chair. Everyone came to love it. Gladwell concludes that people find responses about some topics extremely difficult to articulate. While they may think they dislike something (like the Aeron chair), in their hearts they may actually like it. There is a disconnect that causes people to express dislike in their heads while they actually like it in their hearts (and vice versa).
• Listening to customer feedback? Hate Facebook's new look? You'll like it soon enough. – Slate advances the point that people react to change negatively but eventually get used to the change and make it work.
• Listening to customer feedback? Problems With NBC’s ‘Parks & Recreation’ – When do you listen to negative feedback and when do you follow your vision? I think there's an important middle-ground that is often ignored: understanding what lies beneath that feedback and choosing carefully if and how to respond to it, or how to create supporting activities that help get over the barriers that the rejection points to

Last October I blogged about NBC’s use of “fusion marketing” with the show My Own Worst Enemy.

Are they at it again? A recent episode of the NBC show 30 Rock revolved around a mini-microwave, “The FunCooker“…

…and then a week later in some webvertising I saw an ad for this-

-the iWave cube, a tissue-box sized microwave.

I couldn’t help but wonder if there was another fusion marketing approach afoot.

Marketing is both ubiquitous and stealthy, and in this mashed-up and pervasive environment, any piece of communication in any medium could be a marketing effort. I find this simultaneously intriguing and disquieting.

Pervasive, cross-context marketing is producing some creative and thought-provoking experiences (the recent Skittles/Twitter (Skwitter?) campaign, for one). And it can be fun to spot marketing easter eggs–I felt a little thrill of potential discovery about the two microwaves.

At the same time, this lack of clarity about whether any particular piece of communication is company-sponsored or not adds another level of opacity to an already Filo-dough-like world of layered information. Will bionic critical thinking skills become the new common sense?

Related posts:
Interacting With Advertising
Collateral Damage
Crossover Hit

From a visit to a baby superstore in Vancouver, an education about a problem (plagiocephaly – an asymmetrical distortion of the skull) and a solution (the Lovenest).

The parent-of-baby market seems unique in its (often peer-reinforced) drive to identify new needs and corresponding solutions. This leads to a lot of stuff being produced, some as expensive replacements for existing satisfactory (if generic) solutions, but much of it seemingly innovative. I suppose the work of a parent now includes the emotionally fraught process of trying to sort out the difference.

See more of my Vancouver pictures here.

• Percival Everett's short story, “The Appropriation of Cultures” – This is the second story in this podcast and is an entertaining and powerful piece of fiction about the meaning of symbols and the power that we might seize to change that meaning. Culture jamming as narrative device, in other words.
• Ethnography is not an in-home interview – Grant McCracken considers the emerging finger-pointing as Tesco doesn't do as well in the US as they had hoped. Was research (or rather, poor research) to blame? I share his concern about people going through the motions and claiming they've done the research. A prospective client asked us the other day why they would hire us as opposed to simply borrowing a video camera from his brother and dropping into some of their target offices. It's an important question because it reveals a common mindset. My short answer was that they should definitely do that, but that the expertise we are bringing includes (but is not limited to) the ability to plan and execute those interviews so you really do get to something new, and the process for analyzing and synthesizing that data so that we can identify what it means to them and what the opportunities are. Perhaps, as McCracken suggests, Tesco failed to do just that.
• Standing/adjustable height work surfaces, long available in workplaces, are being tried out – with seeming success – in schools – Teachers in Minnesota and Wisconsin say they know from experience that the desks help give children the flexibility they need to expend energy and, at the same time, focus better on their work rather than focusing on how to keep still.
  …
  “We’re talking about furniture here,” she said, “plain old furniture. If it’s that simple, if it turns out to have the positive impacts everyone hopes for, wouldn’t that be a wonderful thing?”

IMing recently on Yahoo Chat, I noticed the other-party-status-report telling me the person I was chatting with was “hammering out a wicked comeback.”

Usually, this small gray line of text just says the other person “is typing.”

I wasn’t sure how what I had written would merit “a wicked comeback.” I mentioned it to my conversation partner and found out that one of our IM clients had inserted this snarky turn of phrase into our interaction all by itself.

Doesn’t it make you wonder how often your virtual communication is being framed in a way of which you are unaware–and which may or may not have any real connection to

• what you are communicating
• your personality
• the context of the interaction

Don’t get me wrong–I like that companies are shooting for a more authentic and playful voice. But in this case, the locus of the voice was inappropriate.

Bill Breen wrote in Fast Company:

“Our sense of what’s “real” in this post-postmodern world takes on all kinds of strangely distorted shapes and guises, as if it’s reflected back at us from a swirl of fun-house mirrors.”

When a distinctive voice gets thrown into the mix in a way that makes it seem like part of someone’s personal communication, it’s really that person that’s getting branded, not the company. I don’t want the personality of my software superimposed on my communication.

When tools start speaking for the user, rather than the user speaking through the tools, it just makes communication more difficult.

Related posts:
Meet the New Authenticity
Mundane is the New Fun

• Refresh Everything: Egregious Brand Coat-Tailing – Hey, we're a beverage company whose red-white-blue circle logo has elements in common with the a popular red-white-and-blue "O" logo connected with hope and change. Why don't we create a new logo for ourselves that evokes both, let's create a viral-esque phrase like Refresh Everything (get it? He's promising "change" but we promise refreshment?!!!) and let's plaster the logo all over buildings in major cities and take out full-page ads in the newspaper and beyond. All inviting you to a site that does…well, something or other about hope and dreams but either way, we've got our name on this thing going on.
• HOPE photo in San Francisco – Part of series that is now all over the city .

Tons of great stuff in this Tad Friend New Yorker article about the marketing of movies. The codification of the marketing process revealed in the article provides a bit of insight about how we discover and experience this particular class of product.

The business began to change in 1973, when “Billy Jack,” about a rebellious ex-Green Beret, was reissued by its writer and star, Tom Laughlin, after a Warner Bros. release fizzled. Laughlin’s company, Taylor-Laughlin Distribution, saturated the airwaves with television spots aimed at twelve different demographics-“carefully calculated overkill,” as one Taylor-Laughlin executive put it.

and

“Jaws” opened “wide” in 1975, on four hundred and nine screens, at the time a large number; big studio films now open everywhere on more than four thousand. And if you’re in that many theatres you need huge audiences as soon as a film opens-so you need a movie that sells itself.

and

Marketing considerations shape not only the kind of films studios make but who’s in them-gone are lavish adult dramas with no stars, like the 1982 “Gandhi.” Such considerations account for a big role being written for Shia LaBeouf in the most recent “Indiana Jones” (to attract youthful viewers as well as Harrison Ford’s aging fans). They also account for the virtual absence from the screen of children between the ages of newborn (when they appear briefly, to puke on the star for the trailer) and that of the Macauley Culkin character in “Home Alone.” Why have a four-year-old character, when one who is ten will prompt ten-year-olds to find him “relatable,” and four-to-nine-year-olds to look up to him?

and

An unexpected corollary of the modern marketing-and-distribution model is that films no longer have time to find their audience; that audience has to be identified and solicited well in advance. Marketers segment the audience in a variety of ways, but the most common form of partition is the four quadrants: men under twenty-five; older men; women under twenty-five; older women. A studio rarely makes a film that it doesn’t expect will succeed with at least two quadrants, and a film’s budget is usually directly related to the number of quadrants it is anticipated to reach. The most expensive tent-pole movies, such as the “Pirates of the Caribbean” franchise, are aimed at all four quadrants.

The collective wisdom is that young males like explosions, blood, cars flying through the air, pratfalls, poop jokes, “you’re so gay” banter, and sex-but not romance. Young women like friendship, pop music, fashion, sarcasm, sensitive boys who think with their hearts, and romance-but not sex (though they like to hear the naughty girl telling her friends about it). They go to horror films as much as young men, but they hate gore; you lure them by having the ingénue take her time walking down the dark hall.

Older women like feel-good films and Nicholas Sparks-style weepies: they are the core audience for stories of doomed love and triumphs of the human spirit. They enjoy seeing an older woman having her pick of men; they hate seeing a child in danger. Particularly once they reach thirty, these women are the most “review-sensitive”: a chorus of critical praise for a movie aimed at older women can increase the opening weekend’s gross by five million dollars. In other words, older women are discriminating, which is why so few films are made for them.

Older men like darker films, classic genres such as Westerns and war movies, men protecting their homes, and men behaving like idiots. Older men are easy to please, particularly if a film stars Clint Eastwood and is about guys just like them, but they’re hard to motivate.

and finally

If the poster shows a poster child, the movie is for kids. Posters are intended to tell you the film’s genre at a glance, then make you look more closely. Horror posters, for instance, have dark backgrounds; comedies have white backgrounds with the title and copy line in red. Because stars are supposed to open the film, and because they have contractual approval of how they appear on the poster, the final image is often a so-called “big head” or “floating head” of the star.

The other day I saw some unfamiliar M&Ms packaging in a local drugstore.

The Retro Tube!

I wondered whether this was truly a reissue of an old packaging style or just a marketing ploy—a “remember a time that never was” kind of thing—and I asked an older woman in front of me whether she remembered M&Ms ever having come in that kind of package in the past. She said no, she didn’t.

But, some quick internet research reveals that, in fact, M&Ms really did come in a tube when they were first introduced as “a compact, durable food source for troops during World War II.” (Source: candywarehouse.com)

Not only was this bit of history interesting to learn, but it led to my discovering this really cool interface on the Mars company’s M&M history page.

Related Posts:
Great food and packaging pictures
The New Yorker profiles Roald Dahl

One of the commercial breaks during the debut episode of Christian Slater’s new TV show, My Own Worst Enemy, started with a little recruiting pitch for the consulting agency that Slater’s character works for on the show, something along the lines of “we’re looking for a few good people.”

The spot listed a website for AJ Sun Consulting, the fictional character’s fictional employer. So of course I checked it out-I’m fascinated by this stuff.

The site was more substantial than I expected, sporting among its pages a mission statement, a privacy statement, and a client-access-only login field. And not a sign of it being a marketing platform for anything other than AJ Sun Consulting, until I had gotten as far as the fifth question on the job application form on the Careers page. But there it was:

Are you interested in learning more about our company’s employee program with Chevy?
___ Yes
___ No

Which Chevy vehicle would you prefer as your company car?
___ Chevy Traverse
___ Chevy Camaro

Looking into the backstory, I found a May 2008 press release from NBC quoting Dino Bernacchi, General Motors’ Director of Marketing Alliances and Branded Entertainment:

“We call it Fusion Marketing – partnering with the creative community around ideas that build relationships with a passionate audience, but done through the lens of the entertainment property.”

And indeed, a quick check of Whois.net shows the site registered to General Electric, NBC’s parent company. (GE, furthering its forays into “fusion marketing,” also appears as Liz Lemon’s employer on the NBC show 30 Rock.)

For a while, there was a lot of buzz around companies and public figures trying to create a presence in Second Life and use that world to spur more action for themselves in this one. (The Second Life Video Gallery at New Business Horizons has some interesting artifacts around some of these efforts.)

So exactly what is it that’s happening, metaphysically, when I’m in “first life” interacting in a fake forum created by a real entity like GM to sell a real product through a fake premise?

I feel a little bit like the girl in the old A-Ha video–inhabiting a place that’s between real and virtual.

Related posts:
This Space Available
Collateral Damage
Field Research … In Second Life