Ceci N’est Pas Un Music Video
Arcade Fire’s new musical experience, The Wilderness Downtown, is far more than the music video of mere mortals. It is an interactive experience that parades the new capabilities of HTML5 and Google Chrome with a mix of Arcade Fire and a whole lotta digital prowess. The unlikely partnership is blog topic enough, but what results takes the cake.
For those who haven’t experienced it, I’ll rehash it for you. On the website (in the Chrome browser) you enter the address where you grew up. The experience unravels by interspersing digital animation with street view video of your childhood home! You’re running. The music escalates and you… stop. Suddenly the world around you is spinning. Birds fly overhead. And then you are the bird, looking down on your home. Seeing yourself in a new way, from above. Everything in full view. You start running again and your street erupts in new life. It is a personalized story about you. Your innocence. Your home. Your dreams. Your potential. THE potential. A humming, symphonic masterpiece of what it means to be alive and to truly live.
As I watched images of my younger digital self running down my childhood street, it hit me…
The PLATFORM IS the experience. I am the CONSUMER AND THE CONSUMED. Oh the treachery of images! Oh the humble ouroboros! *shakes fist madly*
Ok, faux drama aside, let me explain.
There is clearly a rift between the programmers and the programmer-nots. To people like me – an ignorant, yet carefree member of the programmer nots – software appears like magic. I don’t really think about.
Leave it to Google, HTML5 and the exponentially mounting coolness that is Arcade Fire to bring web browsers to the fore – making browsers hot and new computer code a cause celebre. Even for the programmer nots, I can see that the beauty of this experience is not what it looks like on the outside, but the fact that it is happening at all. The medium is front and center. And by giving some of ourselves, even an childhood address, the experience is all the more rewarding.
You’d better believe that I’m writing this blog post in the Chrome browser, which I (like countless others) only downloaded for the Wilderness Downtown.
By establishing relevance to a new crowd and making a delightfully viral experience, programming is made cooler, google Chrome gets more downloads and Arcade Fire gets exposure to new audiences. I’d say that the combined efforts of this unlikely tri-partnership will be a case study for years to come.
A Transformative Week with Milton Glaser
I recently completed a phenomenal week-long workshop at the School of Visual Arts in New York with the much celebrated designer Milton Glaser, best known for his famous I ♥ NY logo. But it goes without saying that Milton is so much more than a celebrity-status designer. He stands as a testament to the powerful position graphic design occupies in our culture. Last May he was the first graphic designer to be awarded the National Medal of Arts for “improving the way people communicate through innovation in graphic design, for memorable visual artifacts that challenge contemporary artists and delight all Americans.” (Thank you, Milton, you make us proud!)
Despite all his fame and success, Milton has been faithfully teaching this workshop for around 30 years, during which time the exact nature of the class has never been made public. And for good reason. The emphasis of the workshop is on self observation (and in some cases self realization), and knowing about the class in advance would spoil the element of surprise that is vital to the honest outcome of the individual’s work. The obvious downside is that it’s a little tricky to share what I learned, but I would like to share a few inspirational lessons that can be discovered by reading Milton’s writings and not are not exclusive to the class itself.
Drawing will change your life.
Ever since I was a little kid I have loved to draw, though regrettably in recent years the habit has fallen aside. For me, Milton presented a series of absolutely compelling, unarguable reasoning for making drawing a regular practice, from simply bringing yourself into the attentiveness of the here and now, to sharpening your understanding of form, to physically changing your brain in ways we don’t even understand. I am thrilled to bring this joyful practice back into my daily life and encourage others to do the same.
Impact or Excuses?
Milton has authored a test he has titled “The Road to Hell,” a simple 12-point questionnaire inviting designers to think about where they stand on specific ethical conundrums. Aside from challenging my ethical standing, the nature of this survey made very real to me the true impact and influential power of design. If you are to say you would not design an ad for a product that could kill someone, you are simultaneously acknowledging the impact of your own work. If, however, you are to say that you would design the ad because the target audience has the free will to decide for themselves, you are discrediting the intention and effectiveness of your work. Designers are called to be engaged citizens in our world. Be aware of the consequences of your work. Be aware of the people who will be interacting with your work.
Trust your intuition.
Approaching a problem in a purely logical way can lead you astray. There is something unexplainable and occasionally miraculous that comes from our intuition that we do not comprehend. Embrace it.
Though I could speak volumes about this workshop, about Milton and about all the amazing people I met, the last thing I’ll say is that it was—without exaggeration—absolutely one of the most profound, inspirational and life-altering experiences of my professional career. I tried to make myself a top 10 list of daily reflections and reminders from the class to never forget, but what I came up with was a list of 25 27 (and still growing). I’d love to elaborate on those, but I may have said too much already.
Do Goodery abounds in Brooklyn
It’s been almost 3 months since we made the move across the river to our new digs in Dumbo; the last remaining boxes have just been emptied, stomped on and carted away into recycling oblivion.
With our feet now firmly planted in Brooklyn, we’ve been looking to sow our roots and create some lasting friendships. Not exactly the wallflower type, we’ve been meeting friends and neighbors all summer long, and one of our favorites is the Brooklyn Community Foundation, re-launched last fall as a public institution dedicated to strengthening communities and improving lives of the people of Brooklyn. Really, what’s not to like? Before we knew it, we were proud partners for the Foundation’s First Annual Do-Gooder Awards. Funny that.
And so, with a nod to hyper-localism and micro-targeting, we’d like to shout to the hills all that’s good about the Do-Gooder Awards.
Through the awards, the Foundation will publicly honor those who are making a difference everyday with their generosity, creativity and Brooklyn spirit—those Brooklynites who exemplify the Foundation’s mission and motto to Do Good Right Here, in Brooklyn. Winners will be recognized at the Brooklyn Does Good event on November 3 at the Brooklyn Botanic Garden’s Palm House (BBMG will be there in full force). Winners will also receive $5,000 each to reinvest in Brooklyn’s nonprofit community.
Here’s how it works:
- First, nominate (now through September 30) any worthy candidates who display an outstanding sense of giving back locally—with their time, talent and philanthropy. Anyone 18 or older can be nominated for a Brooklyn Do Gooder Award in one of the Foundation’s five fields of interest funding areas (Arts for All, Caring Neighbors, Community Development, Education and Youth Achievement and Green Communities). AND – best part – while the nominees need to be Brooklynites (natch), you don’t have to be a Brooklynite or even a New Yorker to nominate someone.
- Next, vote for your favorite Brooklyn Do Gooders to help determine five finalists. Voting runs October 1-15. (Fear not, we’ll remind …) A VIP judging panel will then select the five winning Brooklyn Do Gooders. (The esteemed panel includes: WNYC’s President Laura Walker, Sara Horowitz, Founder of the Freelancers Union, Lexy Funk co-founder of Brooklyn Industries, Laurie Cumbo, founder of Fort Greene’s MoCADA art gallery, and award-winning author Peter Hedges.)
- Finally, attention locals: Join BBMG and the Brooklyn Community Foundation on November 3 for a community celebration at the classy Palm House at the Brooklyn Botanic Garden, where winners will be recognized and we’ll also raise money to support Brooklyn’s nonprofit community. Tickets start at $75. (Includes booze, apps, live music and more. Details to come.)
And if that’s not enough for you (or if it’s too much for you), how ’bout this:
- Tweet about the awards using the #DoGooder hashtag and follow the Foundation @DoGoodBklyn
- Join and invite others to join the Brooklyn Do Gooders Group on Facebook to learn more, network, and talk up your nominee.
- Learn more about the Brooklyn Community Foundation
- “Like” the Brooklyn Community Foundation on Facebook and invite others to as well.
Hope to see a bunch of you on November 3rd!
Tribes 101: Confessions of a Tribe Novice
About a month and a half ago, (pre-BBMG internship) the word “tribe” barely registered in my vernacular. These days, however, thanks to a hefty introduction to BBMG’s Triple Value Proposition,™ the word “tribe” happily frolics loud and clear in my headspace. Why, you ask? Because as I begin to see the value that tribes of consumers lend to brands, I am amazed by the sheer impact of people who find each other through a common purpose, identity or interest.
So what does it mean to be a tribe, in terms of devotion to a brand and how are companies leveraging this connectivity? For purposes of this blog, let’s look at it simply in terms of a collective passion around a company’s mission, product, or ideas.
This level of interest makes for a pretty powerful force in word of mouth and devotees. The Legion of Extraordinary Dancers (aka, The LXD), an “online dance adventure” created by Jon M. Chu, is an interesting example of tribe-building. The LXD started its online marketing campaign about a year prior to premiering on Hulu on July 7, 2010. As a dancer and super-hero loving nerd, I am naturally inclined to watch this internet series about dancers as superheroes (how fitting… thanks, Jon).
But specifically, I am impressed at the following it has rendered so swiftly after its launch. With over 40,000 fans on Facebook less than a week after its premier and international fans clamoring for access (apparently, it is only viewable in the US), the LXD is off to a flying leap. Sure, part of the hoopla is based off the recent dance fervor inspired by mainstream shows such as “So You Think You Can Dance.” But part of the excitement also comes from the tribe that Chu and his marketing team cultivated throughout the year. Here are a few takeaways from their campaign:
1.) Leverage the intrigue. The LXD created a fan base without anyone really understanding what the show was about and this mystery only fueled the tribe; fans started interactive discussions to investigate what “The Uprising” meant and reveled in its secrecy. Strategic cast appearances on “So You Think You Can Dance,” the 2010 TED Conference and the Oscars boosted awareness of the brand, but gave nothing away. After three episodes and a year’s worth of marketing, we’re still clueless about the actual plotline. But it doesn’t matter- they’ve given us just enough to chew on each week and we’re hanging on for the next clue.
2.) Make the conversation work. Most of the show’s announcements were made by Chu and his team speaking directly to fans through social media sites. Closer to the release date, the conversation began working both ways. Chu and his team addressed fans as “warriors” or “the LXD army” and made unabashed calls to action on Twitter, Facebook and YouTube. Whether they were asked to rate the show on Hulu (making it the #1 most popular show on its premier date) or to simply spread the word to their friends, the LXD warriors listened and responded.
3.) Be a member of your own tribe. Before creating The LXD, Chu was no stranger to the world of dance or filmmaking. As the director of “Step Up 2: The Streets” and the upcoming “Step Up 3-D,” he already had a fan base and could have easily isolated himself in the world of celebrities. Instead, he made himself accessible to his tribe by being an active participant in the dialogue. By staying visible, sharing his passion openly and interacting with fans through social media, Chu keeps himself relevant in the digital age. (The fact that Chu is only 30 years old means that he has an extra advantage of fitting into his tribe demographic.)
As I explore the role that tribes play in the branding space, I believe there may be a powerful tribe behind this fan-driven series. I sense that I’m a willing member of this tribe (given that I’ve devoted most of my blog post to it) and look forward to keeping track of its development.
The Sustainable Brands Conference is always an interesting and engaging experience. But this year, the Sustainable Brands Innovation Open (SBIO) brought the real excitement for the BBMG crew.
The SBIO is a competitive pitch-off where 11 young social ventures vie for capital and consulting before a panel of 10 esteemed judges. This year, BBMG was proud and excited to be connected to 3 out of the 11 companies that made it to the SBIO finals! At BBMG, it means a lot to us that we are surrounded by a such vibrant community and that we can help advance such important ideas. A shout out to these three finalists: our good friends and clients over at the eco-chic, reusable bag-kit company Blue Avocado; our former colleague Benita Singh’s company Source4Style that brings sustainable and fair trade fabrics to the designers who seek them; and my company, The Clarity Project, a fair jewelry social enterprise that sells diamond engagement rings to improve the quality of life for miners and their communities.
It was nerve-racking to pitch, but even more thrilling to meet incredible new players in the space. In addition to these three companies, here are some other finalists to keep an eye on:
CityScape Farms – A combined aquaculture and hydroponics solution for urban spaces (growing fish and vegetables on roof tops!);
Zippgo – A zero-waste moving box solution (no more tape – believe it!);
Tremont Electric – An alternative alternative energy company that harnesses kinetic energy to create electricity (that’s right – kinetic energy from walking!) made it to the final, final round of judging;
And finally, the winner was the amazing new company called BioLite, an efficient cook stove solution that generates electricity to boot (Congrats Jonathan!).
The competition was inspiring and the people were fun, passionate and energizing. Throughout the week and the many conversations it became absolutely clear that the knowledge exchange between entrepreneurs is vital to our collective success. Starting any business is a daunting proposition, so having an opportunity to troubleshoot, celebrate and collaborate with peers is truly invaluable and deeply motivating.
Sustainable Design, Worth the Time
With today’s swirl of ever excelerated deadlines and deliverables, sustainable design concerns often get the short end of the stick. At best, a designer might specify responsibly sourced paper. Maybe even vegetable-based inks. But true sustainability—in terms of both its requirements and its benefits—should reach much deeper than this. Truly sustainable design is not just about doing the “green” thing or the “right thing” but about maximizing the value of your communications while minimizing wasted materials and budget (a win-win for you and the planet).
Remember that the reason for designing communication materials is to drive your audience to take a specific action. Paper choices and pretty aesthetics aside, if the intended action is not taken, the design fails. As Brian Dougherty rightly states in his book Green Graphic Design, “ineffective design is waste.” It is in everyone’s best interest—yours, your audience’s and the planet’s–to create the most successful design possible. To do so, focus on a variety of variables related to the success of your project (clear call to action, breakthrough design, etc) and thinking about how you can incorporate sustainability (minimizing environmental impact, increasing value per dollar).
The challenge is to make adequate time and space for the sustainable process to thrive. An open mind and a reasonable deadline can help open the door to breakthrough design that is both cost-effective and eco-friendly. Ready to give it a try? Here are a few pointers to keep in mind before you begin your next communications project:
Be open. Are you sure you need a 64-page, perfect-bound booklet? The idea you have in your mind for a design solution may not be the best solution. The innovation process is all about discovering the most effective solution, rather than settling with pre-determined deliverables which may or may not be the best use of your communication dollars.
Take inventory. If you have a history of creating communication materials, what can you learn past experience? What tactics have worked well—or not? Do you have excessive quantities of unused, outdated materials sitting in storage? Do you really understand who your target audience is today, what motivates them and how they prefer to receive their information?
Allow time. Sustainable design often involves innovating entirely new approaches and experimenting with new ideas and materials. Could one creative deliverable do the work of two? Could we recycle this after it’s served its purpose? Could we use upcycled materials? Bottom line: cutting out time cuts out opportunities for innovation.
Measure results. What success metrics can you seek out from past projects? Your next project? How can you know that your communications are achieving what you want? Are you looking to increase sales, new donors, memberships? Track the rate of your goal as it relates to the investment of your communications.
Rethink production. This is where your recycled paper comes into play. Choose responsible materials that are FSC certified, recycled or upcycled. Use vegetable-based, low-VOC inks. Avoid non-biodegradable materials. Test your work with focus groups before committing to a large print run. Use a local, environmentally-conscious printer to reduce shipping costs and carbon emissions. Communicate your intentions early on with your printer to avoid bumps in the road.
Keep learning. Follow up with success metrics on your latest communications piece and determine if goals were met. Sustainable design is a journey, so also keep up to date on new industry innovations which could inform your next project.
Respecting The Community
The Sincere Ramblings of an Online Community Manager
All this talk of co-creativity and crowdsourcing via online communities is interesting - fun theories that we can all speculate about. Analyze. Debate. I’m not gonna lie, I drink the ‘social-media-is-awesome KoolAid.’ But I’ve started to ask myself, “where’s the respect?” I’m not being academic – I don’t mean ‘respecting the theory of co-creativity.’ I’m referring to the respect for the crowd being sourced; the people who actually bring the ‘co’ to the creativity. You know, that group of individual human beings that have jobs and families but still give their time, energy and useful opinions to help whatever the ‘community’ is trying to do.
In the last few months I’ve been ‘The Gentle, but Persistent Moderator’ of The Collective. The concise definition of The Collective is ‘BBMG’s private online community that connects values-minded consumers with values-minded brands, organizations and thought leaders.’ Few words; big statement. In fact, it probably took you about 3 seconds to read. But let me just tell you, that 3-second statement took (and takes) so much more to exist.
The process of building an online community has been studied and analyzed. There are blogs with bulleted lists, books written on the ‘how-to’s,’ panels held, probably even a Guide for Dummies (I knew it!) chock full of carefully written and thoughtfully considered lessons and tips on the right and wrong ways to build one. And they’re plenty useful.
(Here comes the ‘but.’)
BUT, what I’ve come to realize is that at the end of each very long day building an online community takes one very short bullet.
- Respect ‘community’
In our eagerness to embrace co-creativity and crowdsourcing, let’s not forget about the human side of what we’re doing. Social media is JUST technology (yes, I said it). A very smart creation, but not a creator without people.
Through The Collective, BBMG is trying to use technology to connect people and parties that normally wouldn’t interact. We strive to respect, listen to and consider all members and, in turn, hope to be respected, listened to and considered ourselves. The result? We all show up as a community rather than a collection of individuals. And all the books agree on one thing: individuals can contribute but it’s communities that really make an impact.
Sincerely, your Gentle, but Persistent Moderator, Barrie
PS – To those Collectivites who may be reading this, thank you.
Don’t Cry for Me, Manahatta
This is the first time we've seen Raphael Bemporad's desk in five years.
Today we decamp for Dumbo, moving the agency’s New York studio across the East River to a sustainably designed space that is more than twice the size at half the price. This may prove to be a dumb idea. Or a brilliant one.
Regardless it is cleansing. There is nothing so satisfying as taking out the old to make room for the new. And emotionally it feels like we are graduating somewhat, perhaps from the high school of hard knocks to the college of being just a little more appreciated.
The timing’s good. We need the space. Post-recession the team has landed big projects for important clients: Samsung, Walmart, Forest Stewardship Council, to name a few.
Our experiment in co-creativity, The Collective, is exceeding all expectations and teaching us a thing or two about community engagement in the age of social media.
And Dumbo is, well, hot—thanks in no small part to our friends at Carrot Creative, HUGE, Big Spaceship and two dozen other firms who have been relentless about branding the area as “Digital Dumbo.” And when the Huff Post and the Journal weigh in on the trend, you know you can go Fonzie and start prepping to jump the shark.
Will I miss Union Square? I will. I will miss the convenient location, the Farmer’s Market, the park’s maple trees flashing gold each fall. Mostly I will miss simply being in the city. We moved here for a reason, after all. To join the big grapple in the Big Apple. To make it here, not there. To wink at Mad Men, shimmy our arses at speakeasies, coo knowingly at art openings and other citified affairs, all the while looking back with a gleam and grin at what we left behind: in my case those oh-so-tidy suburbs just north of Dallas, just blocks from the big box stores with a Chili’s and a multiplex standing by for distraction. (I do miss me the Awesome Blossom.)
Heck, I wax. The truth is, we can do all this with less obstruction from the other side of the river. Our new borough is enjoying a renaissance and feels like home to the city’s cultural creatives. Half our team lives in Brooklyn now and by default already dresses the part: furniture frames, post-modern ironic tees, hi-tops, emo-blasting earbuds, hair misbehaving badly, moleskin journals signifying a penchant for sketchology (wait a minute, that’s the look I’m going for).
Yes, we’ll fit right in. Or least I will try. And I will enjoy the shorter commute. The sunset views of Brooklyn Bridge Park. The Q train rumbling by outside. The room to spread out and think a bit more concertedly about our clients’ challenges. The chance to connect with the digerati over margaritas at Pedro’s. The perspective of looking across at the Gritty City, thinking that I could be there. But instead realizing that I am here, surrounded not by tourists packing Coolpix but by stacks of unpacked boxes. Instead I am here with my friends, hopes and dreams.
I am here now. And it feels good.
Causes are brands too, you know
Last week I was walking through Union Square in New York City when I was stopped by a representative of Greenpeace trying to recruit members. Since I’m lousy at evading sidewalk solicitors, I got pulled into a conversation. Matt, the representative, gave me a well-polished speech about Greenpeace: what they’re doing, why they matter, why they need additional members and so on. I listened politely and told him I wasn’t interested.
When asked why, I gave the standard response: that I already donate money and time to causes I care about. Matt responded that membership wasn’t about the money, it was about showing support and solidarity with other environmentally-minded activists. And that’s when I realized the real reason I don’t support Greenpeace financially – because I’m not an environmental activist. I don’t think like an activist, I don’t buy like an activist, I don’t speak like an activist. It’s just not my personality.
That’s not to say I don’t care about the environment – I do. Nor does it mean there’s not a legitimate place for activists in the fight to protect our planet – I believe there is. Nor am I saying that organizations like Greenpeace don’t do important work – they do. But Greenpeace doesn’t solve problems the same way I solve problems. I’d rather sway a friend’s opinion through discussion and debate than a high profile publicity stunt. I’d rather change consumer behavior through the power of business than soliciting members on the street. But that’s just me. Greenpeace simply isn’t my brand.
Which is why Matt was never going to convince me to become a member. Between the unsolicited – and frankly, a bit pushy – sidewalk approach and what I already knew about Greenpeace’s tactics, I made up my mind that “Greenpeace, The Brand” didn’t resonate for me. Even though I respect their courage and passion, I don’t want them representing my voice in front of world leaders. And frankly, Greenpeace wouldn’t want me staring down a whaling ship with them in a rubber dingy. We’re just not a good match. We may believe in the same cause, but we don’t speak the same language.
This 10-minute episode reminded me how important it is for non-profits and NGO’s to think like brands. Why? Because getting support from the public requires connecting with people on an emotional level as well as a rational level. It’s not enough to simply share the same values as consumers. The way we go about it matters just as much.
With more than 1.5 million non-profits operating in the US alone, there is no shortage of causes competing for dollars and attention. So in a parity marketplace where tens of thousands of organizations are trying to save the environment, how do consumers decide who to support and who to snub? They choose the ones that offer meaningful, memorable and relevant brand experiences. Ultimately, this is the greatest opportunity for mission-based organizations to differentiate themselves: get beyond the “what we believe in” and focus on the “how we live.”
So Long, Farewell, Auf Wiedersehen, Sayonara
And in typical BBMG style, we did it with elegance and grace — bowling in Billyburgh (that’s Williamsburgh to you.)
Women of valor, Saki and D
Channeling the Von Trapp family singers, we moved our colleagues to wincing with our quirky little rendition of So Long, Farewell. And in typical BBMG fashion, the song was written - with love, of course – on the subway, en route to the soiree and then performed off of our iPhones. We like to think of it as accidentally green. It went a little something like this: (syncopation and all)
Makena Cahill
Mitch Baranowski
Morgen Wolf
Rachel Lichte
Mirm Kriegel
Eve Smith
Jeff Shah
Steve Thrush
Barrie Wilhelmi
Molly Conley
Sharon Park
