Thirty four years ago today, I visited Jim Morrison’s grave at Père Lachaise Cemetery to honor his memory on the tenth anniversary of his death. The moment sealed my lifetime interest in the Doors and especially Jim Morrison. But aside from providing the soundtrack to my life and fascinating me with his songwriting, has Jim Morrison really had an impact on how I live and work? Yes. Here are three lessons I have learned from the lizard king, which I apply today:
1. Take Risks
Morrison famously challenged us to break on through to the other side. He constantly challenged himself, too, in his actions and words. He was not afraid to write about disturbing themes in his songs and to explore topics that can still make you feel uncomfortable, such as the Oedipal subtext in “The End” and the killer on the road in “Riders on the Storm.” As a performer, he pushed boundaries to the point of defying audience expectations of rock stars, with sometimes unfortunate results, such as his being charged for indecency in the aftermath of an infamous Miami concert in 1969.
Morrison has inspired me to take risks in all aspects of my life, whether I’m auditioning to perform in a Renaissance Faire or launching my own business. My family and I create our own personal adventures each day, pushing each other to grow and live outside our comfort zones, as we did recently when we all hiked steep, unyielding trails in the Smoky Mountains. We could have enjoyed a relaxing vacation in the comfort of our rented cabin, but instead we pushed each other to literally explore new terrain that was sometimes grueling. We took risks and flourished.
Mobile consumers have an immediate intent to purchase: according to a recently released report by Google, I Want-to-Go Moments: From Search to Store, half of consumers who conduct a local search on their smartphones visit a store within 24 hours. Nearly half of consumers trying to decide on a restaurant do their local search within an hour of actually going.
In I-Want-to-Go Moments: From Search to Store, Google noted that the number of “near me” searches (searches conducted for goods and services nearby) conducted by consumers have grown by 34 times since 2011; and 80 percent of those searches are conducted on mobile devices.
“With a world of information at their fingertips, consumers have heightened expectations for immediacy and relevance,” wrote the report’s author, Matt Lawson. “They want what they want when they want it. They’re confident they can make well-informed choices whenever needs arise. It’s essential that brands be there in these moments that matter — when people are actively looking to learn, discover, and, or buy.”
You can sense the wheels spinning at Facebook, Google, Instagram, Pinterest, and Twitter, where consumers and brands share the same space: if consumers are collapsing the journey from awareness to purchase on their mobile devices, why not remove the friction of sending them offline to buy something? Why not use buy buttons seal the deal the moment when initial research and consideration occur on mobile devices?
Some album covers are memorable because they perfectly express an artist’s image (or brand, if you will) as well as music. Such is the case with Sticky Fingers, the 11th American studio album of the Rolling Stones. Sticky Fingers, newly re-issued to celebrate its 44th anniversary, created controversy in 1971 for its Andy Warhol designed close-up of a man’s crotch, featuring with a functional zipper that dared the listener, “Go ahead, unzip me.” More than four decades later, the cover for Sticky Fingers expresses the Stones at its best: salacious, impossible to ignore, and rough around the edges.
The album’s history and legacy are well documented. Sticky Fingers was partly recorded in the fabled Muscle Shoals Sound Studio in the United States during the band’s 1969 U.S. tour (you can catch a glimpse of the recording in Gimme Shelter, the historic movie about the tour), as well as the Stones mobile studio unit in Stargroves (where Led Zeppelin would later record Houses of the Holy).
Sticky Fingers featured familiar Stones terrain: sex (“Brown Sugar”), drugs (“Sister Morphine,” “Dead Flowers”), the blues (“I Got the Blues”), and dirty rock and roll all over. The album also displayed the improvisational talents of guitarist Mick Taylor, especially on “Can’t You Hear Me Knocking,” and some surprisingly tender, if weary moments, most notably “Moonlight Mile” and “Wild Horses.” The violence and menace of 1969’s Let It Bleed gave way to a more decadent, yet more introspective feel, resulting in an artistic breakthrough.
No other Stones album cover would express the band’s decadence so well. According to 100 Best Album Covers: The Stories Behind the Sleeves, by Storm Thorgerson and Aubrey Powell (themselves legends of album cover design), Warhol suggested the idea of using a real trouser zipper to Mick Jagger at a party in 1969. Jagger, intrigued, asked Warhol to do the design.
According to Warhol’s former manager Paul Morrissey (quoted in 100 Best Album Covers), “Andy was sensible enough to know not to be pretentious when doing album covers. This was a realistic attempt at selling sex and naughtiness. It was done simply and cheaply, without the pretensions of that seem to go with other covers.”
The stark black-and-white close-up of a man’s crotch captured the cheap, simple approach. “It was a cheap camera and cheap film,” said Morrissey. “I have no idea what brand.”
The red rubber stamp design of the album title and band’s name added to the gritty look.
Artist Craig Braun was responsible for translating Warhol’s design into a functional album cover. As told in a recent New York Times article, Mick Jagger insisted that the zipper needed to work, and it had to reveal something when you pulled it down.
“[The Rolling Stones] knew if they put jeans and a working zipper that people were going to want to see what was back there,” Braun said.
Braun obtained a photo of the Andy Warhol model in his white underwear to slip behind the zipper. (Contrary to popular belief, it’s not a close-up of Mick Jagger’s crotch you see when you pull down the zipper.)
Realizing Warhol’s vision was a chore. The zipper damaged some of the initial pressings when the albums were stacked and shipped to record stores. The zipper literally dented the vinyl inside the sleeves pressed against it. Removing the zipper would ruin its effect. The solution was for each zipper to be manually pulled down just far enough that the tip of the zipper would no longer rub against the vinyl of any other albums in shipment. As Braun told Joe Coscarelli of The New York Times:
“I got this idea that maybe, if the glue was dry enough, we could have the little old ladies at the end of the assembly line pull the zipper down far enough so that the round part would hit the center disc label,” he said. “It worked, and it was even better to see the zipper pulled halfway down.”
As famous as the cover is, the artwork inside is also notable for the debut of the Rolling Stones’s iconic tongue logo, designed by John Pasche. The tongue logo would become as famous and recognizable as the Nike Swoosh logo, which also appeared for the first time in 1971.
If the album cover reminded us of the Stones’s dirtiness, then the rolling tongue recast the band in a new light: a rock and roll brand, and eventually a lucrative one, gaining revenue streams from touring and merchandising, and corporate deals that few, if anyone, envisioned in 1971. And that tongue retains its power. Lucky Brand recently signed a merchandising deal with the Stones in which the tongue eclipses the clothing.
Apple has some work to do with the Apple Watch. Early adopters are criticizing the new wearable for a host of problems, including limited battery life. In other words, development is progressing on schedule. Apple is breaking into a nascent market with an imperfect product just as another huge brand, Disney, did two years ago with the launch of the MagicBand wearable that manages most facets of a guest stay at Walt Disney World. Disney faced criticisms for a new device, addressed them, and is seeing strong uptake two years later. Apple will, too. The biggest challenge Apple faces is investor expectation that every new Apple product will take hold immediately like the iPhone or iPad. The Apple Watch is different: it represents an entry into an evolving market, more akin to the first Model T automobiles. (By contrast, the iPhone cracked an already established telephony industry.) As I discuss in a recently published white paper, both Apple and Disney are acting on a vision to change the way we live. Following is an excerpt discussing why I believe they will succeed.
Ease of Use
Apple and Disney designed the Apple Watch and MagicBand to look good, and they need to look good. The devices are designed to be visible extensions of you, worn prominently on your wrist instead of being tucked away in your pocket. Disney wants Disney World patrons to use their MagicBands to manage their entire stays, including checking into their lodging, buying souvenirs, reserving their ride times via the FastPass+ system, and getting their meals served — akin to using a wristband to live in a city. Apple has even grander ambitions: your Apple Watch is the key to not only buying goods and services, but also handling myriad other aspects of your life, such as managing your fitness.
Apple and Disney need you to feel comfortable about wearing your devices, and for good reason: wearables have been marred by ugly design, and who wants to wear a device that embarrasses the owner? Appearance is so crucial that Apple has departed from its usual custom of providing simple product options and instead provides 38 different Apple Watch designs, ranging in price from $349 to $17,000. Similarly, the Disney MagicBands are available in many different colors (at prices ranging from $12.99 to $29.99), and Disney makes it possible for MagicBand owners to “show off your Disney side” by customizing its look with accessories such as an R2-D2 Magic Slider.
But what makes Apple Watch and MagicBand game changers are their ease of use. Both devices eliminate an action: digging through your belongings to conduct an action. Have you ever found yourself fumbling around for your iPhone to search for a restaurant on Yelp? Dropped your Disney room key while trying to lasso your kids as you dig through your backpack? Apple and Disney just eliminated those aggravating moments and replaced them with more fluid, graceful user interfaces such as swiping, glancing, and speaking.
For the products to take hold, they need to be more than user friendly; they need to be pervasive. As Austin Carr of Fast Company notes, Disney designed the MagicBands to support your visit to a metropolis spanning 25,000 acres, comprising four theme parks, 140 attractions, 300 dining locations, Read more »
Let’s pretend for a moment that you are in Manhattan on a business trip. Just before an important meeting, you spill coffee all over your shirt. You’re too far away from your hotel to grab another one. You pull out your mobile phone and Google “shirts near me.” Lo and behold, a clothing store a few blocks away not only shows up in your search results, but the store displays an offer for 10 percent off your next purchase, with the transaction made easy via your mobile wallet. Do you think you just might be tempted to accept the offer? SIM Partners (a client) and Vibes certainly believe you will. Today the two companies announced a relationship that will combine local search and mobile technology to make it possible for businesses to make offers to consumers based on their proximity to a business. I believe the SIM Partners relationship with Vibes is changing local search by closing the gap between marketing and sales.
SIM Partners and Vibes are addressing a compelling issue. Local searches indicate intent to purchase. According to comScore, 80 percent of local searches on mobile phones convert to purchase — a powerful piece of data that makes perfect sense when you think about it. If you Google “pizza” on your mobile phone when you are downtown Chicago, chances are that you are looking for a place to eat pizza rather than researching the history of pizza. Big companies that operate hundreds and thousands of outlets are working with local marketing experts like SIM Partners to make sure that their names appear prominently in your search results and to ensure that it’s easy for you to find and do business with them. As SIM Partners CMO Tari Haro recently noted in a blog post, such brands have an opportunity to go beyond “being found” in search results and instead entice consumers to conduct business with them. She challenges companies to own “the next moment” of search, or the action that occurs after a consumer finds your business.
SIM Partners and Vibes took a big step in making it possible for brands to own the next moment of search. As discussed in the press release, the two companies are integrating mobile wallet campaigns with the SIM Partners Velocity platform to help national brands create online and in-store offers that convert shoppers into buyers based on a customer’s search intent and proximity.
The following graphic demonstrates how the technology works from a consumer’s point of view. In the example, a consumer uses her mobile phone or Apple Watch to conduct a “shoes near me” search in New Orleans. A shoe retailer working with SIM Partners and Vibes not only show its location in the search results, but also:
Displays an offer (“Get instant savings on your next purchase at Shuuz New Orleans”).
Allows you to download a 20-percent-off offer in your mobile wallet after you tap a “save now” button on your screen.
Notifies you when you are within 100 meters of the store (“Welcome to Shuuz”).
I believe the SIM Partners/Vibes relationship is a game changer for these reasons:
The two companies are helping brands tap into natural human behaviors such as search, mobile phone usage, and shopping. Enterprises provide the offer when it matters most to consumers, creating a more relevant experience.
The relationship is forward thinking, as it relies on iBeacon technology and accommodates the Apple Watch — which plays to the strategies adopted by major brands such as Macy’s (an early adopter of iBeacons) and Target (already embracing the Apple Watch to enrich the shopping experience).
SIM Partners and Vibes are closing the gap between marketing and sales. We’re not talking about creating targeted ads to serve up more relevant content based on your browsing history — rather, SIM Partners and Vibes are empowering companies to create a specific offer at the right place and time to drive foot traffic into a store when your purchase intent is strong.
Apple and Disney want more than your money. They want to influence your behavior. Disney’s MagicBand wearable is teaching hundreds of thousands of Walt Disney World visitors how easy it is to manage their vacations with a simple swipe of the wrist. The Apple Watch promises to empower consumers to use their wrists and voices to perform actions ranging from buying coffee to controlling the temperatures of their homes. I use the term “market maker” to refer to a person or business that shapes our lives and behaviors. Small, nimble businesses such as Airbnb and Uber are market makers because they have upended lodging and transportation by convincing people to share services with each other. But as Apple and Disney show, big brands can be market makers, too — and big brands wield more scale. The Apple Watch and MagicBand are imperfect devices that promise to get better as more people use them (the MagicBand, with a two-year head start on the Apple Watch, has already done so). But what makes Apple and Disney market makers isn’t their focus on making better products: it’s their vision to create an extension of you. My new white paper, Apple and Disney: Extensions of You, analyzes the three reasons why the MagicBand and Apple Watch are designed to succeed where other wearables have failed, and I provide tips for your business to embrace wearables successfully. I invite you to download a copy (no registration required) and let me know what you think of it.
Your brand has a publishing style even if you don’t realize it. The Whole Foods Whole Story blog is personal and conversational. The Red Bull Bullevardstrives to be punchy and cheeky. I was recently reminded of the importance of style when I read “Holy Writ,” a passionate The New Yorker article about copy editing and writing from Mary Norris, who has been a query proofreader at the magazine for more than 20 years. Her article underscores the power that words retain in the era of Snapchat and Instagram.
With knowing, often wry prose, Norris reflects on a career in which she has checked the work of many esteemed TheNew Yorker authors, such as John McPhee, whose writing was so immaculate that reviewing his work was a breeze. She also reflects on the niggling quirks of modern-day writing that continue to cause debate and consternation among anyone who cares about words — such as whether a house style should permit or eschew the serial comma, or the third comma in a series.
She falls squarely in the camp of serial comma supporters. “I’ve gotten used to the way it looks,” she writes. “It gives starch to the prose, and can be very effective. If a sentence were a picket fence, the serial commas would be posts at regular intervals.”
I agree. When I was in journalism school, I glumly went along with the prevailing journalistic style of omitting the serial comma even though the missing third comma forced my writing along faster than I wanted. But the moment I graduated from college and went to work for a book publisher, I practically clicked my heels as I fled to the comforting embrace of the serial comma, The Chicago Manual of Style as my witness. Years later, I would also stop using two spaces after the period when the common style of the digital world took root — a decision that made me feel like Mad Men’s Roger Sterling growing sideburns and wearing a plaid jacket as the 1960s gave way to the ’70s.
There was a time when an article like Norris’s would have appealed to writers and copy editors of a distinct literary set — the tweed-jacket-wearing “professionals” who, like me, earned their stripes mastering The Associated Press Stylebook or The Chicago Manual of Style while gaining degrees in journalism and English en route to careers in journalism or book publishing.
But those days are long gone. A whole new breed of publisher has emerged — the brand that creates its own ideas and the everyday citizen who blogs. As a result, an article such as “Holy Writ” has a wider, and more diverse, audience: the blogger serious about relying on writing to create a one-person brand; the chief content officer in a Fortune 500 company; or perhaps an ex-journalist who writes white papers and blog posts for a corporation. The brands that are really serious about acting like big-time publishers realize they have an obligation to their writers (whether in-house or freelance) to guide them with an understanding of their business’s own house style.
I have had the good fortune to work with some of those businesses to create style guides that are every bit as important to their brands as The Chicago Manual of Style remains today for book publishers. In my experience, a good style guide goes beyond addressing questions such as the way possessives should be treated. A corporate style guide should show writers how to be engaging, answer usage questions, and identify common mistakes that can mar good writing. Here is what I mean:
Show how to be engaging: a style guide should spell out the elements of engaging writing, such as sharing relevant ideas and asserting a point of view. More experienced writers might not need this kind of guidance, but many corporate writers will require it, especially if they are just dipping their toes in the world of blogging. Coaching writers on engaging writing also means rallying them around a desired writing style. Is your brand authoritative and academic like Harvard Business Review, or edgy like Vice? In defining the writing style, your guide should provide insight into your audience: who they are, how they think, and how your writing should connect with them.
Answer usage questions: usage covers the mechanics of writing, including word choice, terminology, capitalization, and punctuation (including the all-important call about the serial comma). Some brand publishers simply defer to an outside resource such as The Associated Press Stylebook for all usage questions, but sooner or later you will find some crucial ruling in someone else’s style manual that just doesn’t feel correct for your own brand.
Discourage writing demons: here is where language nerds have a chance to call out every sin of bad writing that they have endured throughout their lives, such as mistaking its for it’s or incorrectly writing comprised of. An effective style guide collects the most common writing demons and casts them into a purgatory where all corporate bloggers and Website writers are forbidden to enter. But a writing demons section should not come across like the stern scold of a schoolmarm. A style guide should help writers, not browbeat them.
A style guide will yield many benefits. Less experienced writers will understand how to write better prose and avoid writing demons. All writers, whatever their level of experience, will appreciate receiving ground rules about your corporate brand style. Editors will have a tool to help them guide the judgment calls they need to make.
Moreover, your employees will be on the same page when they represent your brand with words. Your corporate blog will benefit from a reasonable amount of brand style consistency even as your writers develop their own individual voices. Most importantly, your audience will benefit by reading consistently good writing from your brand.
If you have yet to create a corporate style guide, why not start now?
Being relevant to the contemporary zeitgeist is important to classic rock bands that continue performing long after qualifying for AARP membership. After all, rock and roll is supposed to be the music of youth and an influence on contemporary society, not yesterday’s news. No one wants to experience the embarrassment that U2 suffered when many people on social media asked “Who are these guys?” after Apple dropped the band’s latest album on fans via an iTunes download in 2014. Here is a rulebook for relevance that successful classic rockers usually to follow:
The battle for the omni-channel customer experience has become a war for an “everywhere customer,” who uses multiple devices and channels for shopping and expects brands to be everywhere. On average, Americans own four digital devices and users who interact across multiple devices or channels are substantially more likely to purchase than those who do not. Some brands, such as Disney, Macy’s, and Wells Fargo, are moving from awareness to action by rolling out technologies that allow them to service everywhere customers online as well as in-store. And the early adopters will be rewarded: everywhere customers spend an average of 15-to-30 percent more than their counterparts.
Disney is an excellent example of a brand that knows how to design an experience that anticipates and responds to the behaviors of everywhere customers. Disney guides visitors through an online/offline journey at Disney World, from research to purchase to visit. The journey begins at the My Disney Experience website. Registered users rely on My Disney Experience for the most complicated part of their Disneyworld visit: planning. With Disney offering a wide variety of lodging, dining, and ticketing options, planning can be a complex task, and far too complicated for a mobile app. The website makes all those tasks easier. Users create their own profiles, which they may update as they build their itineraries. Users may also collaborate with one another on their vacation planning and reservations. The desktop experience is augmented with live chat, email, and click-to-call tabs for users, who need help planning their vacations or navigating the website.
As users update their itineraries, the Disney master ticket (a laminated card sent to users separately) updates in sync. When guests arrive at a park, their tickets contain up-to-date details such as lodging choices and Fast Pass ride times. Moreover, users may choose to link all their information to a Disney MagicBand, a smart wristband, instead of the laminated card. With the wristband, Disney creates its own customer service channel through the wearable device that is used throughout the entire Disney World experience. My Disney Experience also guides users to the My Disney Experience app, which can be used for managing onsite details such checking park hours and times for character appearances.
My recently published CMO.com column, “‘Everywhere Customers’ Are Your Future,” offers six steps brands can take in order to win the war for this important audience, which I believe define the future of American consumerism. Read the columnhere and let me know what you think.
How does a fictional character eclipse his real-life creator and become embedded in the fabric of popular culture? I have been pondering the question while watching the widespread outpouring of grief and nostalgia in the wake of the death of Leonard Nimoy, the man who gave us Mr. Spock.
When my older brother Dan called me on a cold Friday afternoon to share his favorite memories of Mr. Spock, I felt sad that we had lost Nimoy yet grateful for the enduring gift of Spock. As a child growing up with Star Trek via reruns in the 1970s, I admired Spock’s Vulcan logic, unbending loyalty to his friends, and the dignified way he carried the burden of being half-Vulcan, half-human. Nimoy essayed a character who found a way to reveal keen emotion bubbling beneath the surface of his steely calm demeanor. To borrow one of Spock’s catchphrases, I found Spock fascinating. And I still do when I watch Star Trek, both the TV series and the film adaptations, at home with my daughter.
Obviously, I am not alone. Spock has legions of fans even though the original Star Trek series lasted just three seasons and was canceled in 1969. Nimoy’s death February 27 was covered widely in the mainstream news media, ranging from Mashable to The New York Times. In reporting Nimoy’s death, The New York Times captured the essence of Spock:
[I]t was as Mr. Spock that Mr. Nimoy became a folk hero, bringing to life one of the most indelible characters of the last half century: a cerebral, unflappable, pointy-eared Vulcan with a signature salute and blessing: “Live long and prosper” . . .
The White House reacted, too: President Barack Obama issued a statement professing his own admiration of Nimoy and love for Spock. Social media exploded with tributes, such as the fan-made photographs of the Vulcan “Live long and prosper” symbol on Facebook and Instagram. The tributes came from both Baby Boomers and digital natives who were not alive when Spock first explored strange new worlds with Captain Kirk, Bones, Scotty, Uhura, and the crew of the USS Enterprise. The reaction was similar to the one we will experience when Sean Connery leaves us with the legacy of James Bond. Clearly, Spock, like 007, is a cultural touchstone. But why?
I believe we admire Spock because he represents an all-too-rare cultural archetype: the beloved hero. Yes, Spock does heroic things: his actions on Star Trek, both on the television series and in the popular film adaptations, save countless lives and thwart evil. But there is also a purity and moral goodness about Spock, which was largely missing from our recent fictional heroes until Harry Potter came along. Read more »