How Travis Scott and One Chill Dude on TikTok Created Cultural Relevance for McDonald’s, Fleetwood Mac, and Ocean Spray

Nathan Apodaca, Travis Scott, and Stevie Nicks

Could you have predicted that McDonald’s would be unable to keep up with demand for Value Meals during a global pandemic that has crushed the restaurant industry? Or that a song recorded by Fleetwood Mac 43 years ago would re-enter the Billboard charts? Or that a 90-year-old juice company would suddenly become cool? 

All those things have happened in 2020 because of a perfect storm of media, personalities, and brands known as cultural relevance. Cultural relevance is something like a Holy Grail for brands because being culturally relevant is a way to build an emotional bond with people — and branding is all about emotion. Brands become culturally relevant when they connect with an audience through their attitudes, beliefs, and behaviors. Sometimes cultural relevance means shaping attitudes, beliefs, and behaviors, too. (Netflix is an example of a brand that shapes attitudes, beliefs, and behaviors in addition to connecting with them.) 

Let’s take a closer look at a few examples from recent weeks.

McDonald’s and Travis Scott

When McDonald’s and hip-hop star Travis Scott launched the Travis Scott Value Meal on September 4, they tapped into a cultural relationship between fast food and hip-hop that arguably dates back to Run-DMC name checking KFC and McDonald’s in “You Be Illin’,” and NWA and LL Cool J both showing Burger King love in “I Ain’t That 1” and “The Bristol Hotel,” respectively. L.A.-based Fatburger achieved national fame in 1992 when Ice Cube name checked the chain in the song “It Was a Good Day.”

After that, Fatburger became the unofficial burger stand of choice for the hip-hop world, with artists such as Biggie Smalls calling out the restaurant either in song or word. Another famous L.A. eatery, Roscoe’s House of Chicken & Waffles, is so beloved by hip-hop stars that Snoop Dogg offered to buy the joint when it faced financial problems.

The fast food industry understands the power of hip-hop to confer cultural relevance, too. Back in 2005, McDonald’s enlisted the help of a marketing firm to recruit hip-hop artists to mention Big Macs in their songs. Having deep pockets doesn’t make you culturally relevant, of course. But you can borrow cultural relevance by forming the right relationships. And that’s what McDonald’s did by co-branding with Travis Scott recently.

The McDonald’s campaign with Travis Scott ran from September 4 to October 8. It featured not only the Travis Scott Value Meal, but also the sale of related merchandise such as a $90 pillow that sold out in days. Scott also starred in a commercial for Mickey D’s.

The campaign was so popular that McDonald’s could not keep up with the demand for the Travis Scott Value Meals. McDonald’s said that the campaign helped the company achieve the highest monthly same-store sales in nearly a decade. 

McDonald’s US chief marketing officer Morgan Flatley told Business Insider that McDonald’s decided to team up with Scott because of his cultural impact, especially when it comes to younger customers:

His ability to kind of see where culture is going and have a hand in where culture is going is really unique. Then you couple that with his huge followership and his fans, social-media footprint, and . . . 3 billion streams. He just has an incredible audience.

The relationship with McDonald’s also spawned an amusing behavior among younger customers who rolled up to McDonald’s drive-through lanes and placed their orders for the Travis Scott Meal with their own creative spin, such as announcing cryptically, “You know what I want,” or “You know why we’re here,” and then blasting Scott’s hit song, “Sicko Mode.”

The “Sicko Mode”-style ordering also lit up TikTok, with fans posting their “Sicko Mode” moments on videos that went viral. Fans had so much fun coming up with their own distinct ways to order the Travis Scott Meal that McDonald’s executives sent a memo to employees, giving a heads up regarding the different vernacular one might expect in the drive-through lane, and encouraging employees to just roll with it.

“To reduce confusion, please make crew aware of these monikers or alternate ordering methods,” the memo said.

This is what cultural relevance is all about: influencing how people actually talk and behave. And all this happened in just weeks.

Lessons Learned

  • Choose wisely. The McDonald’s/Travis Scott relationship made McDonald’s more culturally relevant with hip-hop fans, and Travis Scott more relevant with fast food nation. Money alone did not create cultural relevance: good judgment in a branding partner did. McDonald’s benefitted especially because Travis Scott’s star was exploding in 2020, as I discussed recently in a Hacker Noon article.
  • Be true to your brand. Everything about the relationship was perfect for Scott’s larger-than-life personality. He’s like the Salvador Dali of hip-hop – a wildly creative artist who pushes boundaries, an example being performing while riding a roller coaster during his concerts. All the merchandise featured during the campaign, such as the oversized McNugget pillow and the sticker bomb hoodie, were perfect for his brand and McDonald’s. The Travis Scott Value Meal itself was simply the kind of food anyone can get at McDonald’s all the time – a Quarter Pounder with cheese, fries with BBQ sauce to dip, and a Sprite — repackaged for the campaign.

McDonald’s is now trying to repeat its success with a new Value Meal that features Colombian reggaeton musician J Balvin – an obvious attempt to court a more global Latin audience. Let’s see if the J Balvin Meal extends the winning streak. 

Nathan Apodaca, TikTok, Fleetwood Mac, and Ocean Spray

TikTok star Nathan Apodaca, who works in a potato processing plant when he’s not creating viral TikTok videos for millions of followers, is at the center of a feel-good story during a year that needs one.

On September 25, Apodaca posted a TikTok video of himself cruising on longboard beside a highway, swigging from a jug of Ocean Spray Cran-Raspberry juice, and lip syncing to the Fleetwood Mac 1977 song “Dreams.” In one of those gloriously sweet internet moments that no one can predict, the clip went viral, creating a huge sensation. More than 170,000 TikTok users created their own homage videos featuring “Dreams.” The original video generated millions of views and reactions.

Why? Partly because Apodaca already had a large following on TikTok, where viral stars and global influencers are made. But it was the chill vibe of the video that mattered most. In reality, he was heading to his job on a longboard because his car wasn’t working – and yet, he was unflappably cool, lip syncing to a perfectly chill song that instantly evokes 1970s nostalgia. The entire vibe was something we all aspire to, especially during these stressful times.

But the story didn’t end there. By mid-October, “Dreams” re-entered the Billboard 100 chart for the first time in decades. And Fleetwood Mac seized the opportunity to keep the momentum going. Stevie Nicks, who wrote the song, created her own response video, singing along with the original recording of “Dreams” while she sat on a piano bench next to a container of Ocean Spray and laced up a pair of roller skates.

Mick Fleetwood created a TikTok account to pay homage to the song and surprised Apodaca by thanking him live on a BBC interview. 

“We owe you,” Fleetwood said, fittingly. 

Meanwhile, Ocean Spray jumped in. CEO Tom Hayes joined TikTok to make his own response video.

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Did we just become best friends? @mickfleetwood @420doggface208

♬ Dreams (2004 Remaster) – Fleetwood Mac

Even better, Ocean Spray gifted Apodaca with a new truck to replace the broken vehicle that caused the need for creating a video in the first place. The Tom Hayes TikTok response humanized the corporate brand, and the truck gift was a perfect gesture that created goodwill for the brand at a time when people want brands to share positivity during hard times. (In a recent Twitter survey, 74 percent of respondents said brands should showcase acts of kindness during the pandemic, and 70 percent of respondents said brands should boost positivity and share positive stories.)

Meanwhile, Nathan Apodaca has taken a leave of absence from his job to manage the opportunities that have come his way, including potentially launching his own  cannabis strain in California (he’d already been running a side hustle selling knitted beanies). 

Lessons Learned

  • Be opportunistic and agile. Ocean Spray and Fleetwood Mac both seized the opportunity to create brand love by responding with their own TikTok videos. And they acted quickly while the viral sensation was peaking.
  • Be authentic. Neither Ocean Spray nor Fleetwood Mac did anything too “corporate.” Their videos felt authentic and not overly polished, befitting the TikTok  platform. As TikTok Global Head of Business marketing Katie Puris told Adweek, “Brands don’t have to feel like they need to show up as being perfect. Our community doesn’t expect that from them.”
  • Do good. Both Mick Fleetwood and Ocean Spray showed class and created goodwill by publicly thanking Apodaca and, in Ocean Spray’s case, donating a truck. It was the least they could do for a man who put them both back on the map.

Nathan Apodaca’s TikTok video was the equivalent of a Guardians of the Galaxy soundtrack making 1970s hits popular again, or Stranger Things triggering a resurgence of interest in 1980s products such as New Coke. Brands cannot always know when a viral sensation will happen. But they can have a game plan for knowing how act quickly and capitalize on a culturally relevant moment. 

As Katie Puris said, “You can’t plan for viral. Don’t just wait for a moment to be opportunistic, but plan for this to be a component in the way you think about building your brand all of the time, with an always-on strategy. And have a plan in place for when these opportunities do show up.”

Brands Will Keep Partnering with Musicians 

Scott’s relationship with McDonald’s demonstrates how an elite group of musicians, the new music moguls, have become brands unto themselves, wielding power through their cultural relevance. Musicians used to align themselves with non-music brands such as McDonald’s to gain more power, visibility, and wealth. But an elite group of musicians, such as Jay-Z and Kanye West, have become so powerful that they’ve inverted the model. Some have changed the model completely by creating non-music brands. For example, Rihanna’s Fenty beauty line is credited for compelling the beauty industry to create more inclusive products, a phenomenon known as the Fenty Effect. Arguably, Rihanna as a fashion and beauty brand has eclipsed Rihanna the musician.

Travis Scott is inheriting the mantle from this high-flying group — a next-generation music mogul.

As for Nathan Apodaca? Whether his cannabis venture works out or not, he’s just going to keep doing what he’s doing. As he told Insider, “I just do me, that ain’t gonna change. I’m gonna keep skateboarding and doing my longboard videos because those make me feel good. My little dance videos, my little skits that I do, it’s just exciting to me. It’s fun and exciting because I get to see the joy that it brings people.”

With IGTV, Instagram Targets the Mobile Generation

The cool kids don’t hang out on Facebook anymore. So Facebook wants the cool kids to hang out on Instagram.

When Facebook bought Instagram in 2012, Instagram had less than 100 million users. Now the app counts one billion users, most of whom are millennials and digital natives, the demographic Facebook covets. Instagram continues to grow by making it easy and fun for users to tell visual stories, the language of the digital generation. Sometimes, Instagram copies Snapchat features as it did with the creation of Instagram Stories. Now Instagram is taking a page from YouTube’s playbook by offering longer-form video through the recently launched IGTV feature. Instead of having video limited to 30 seconds in length, users can create videos that are as long as 10 minutes (or an hour for larger, verified accounts). And Instagram is adding an important twist: the content is optimized for mobile.

A Mobile-First Experience

If you’re already creating Instagram main-feed videos and Instagram Stories, IGTV should be a snap to use. You simply hold your mobile phone vertically and record a video. Then you tap on the IGTV icon on your Instagram account and follow the prompts to upload and label the video. Note that when you record your video, you don’t hold the phone in horizonal fashion as you are probably accustomed to doing. That’s because IGTV is designed specifically for the way we naturally hold our phones and view content via the vertical format. IGTV videos look naturally rendered, taking up the entire screen rather than being bracketed by ugly, thick black borders that typically appear if you hold your phone vertically and create a video (which looks hopelessly uncool).

Instagram CEO Kevin Systrom said that the mobile format will set IGTV apart. “We’ve reimagined what video is on mobile,” he said in a livestreamed announcement. In a blog post, Instagram pointed out that by 2021, mobile video will account for 78 percent of total mobile data traffic – so a mobile-first video uploading and sharing experience is long overdue. Continue reading

How Musician Alison Goldfrapp Creates Social Media Mystique

BannerRecently, I was talking with a director about how artists use social media. He vowed never to use it. “Lifting the veil to your private life ruins the artist’s mystique,” he said. And he has a point. Sharing on social can connect artists with their fans, but social media can be problematic for musicians such as Beck, Jimmy Page, and Prince whose personal brands are built on the power of mystique. Their appeal comes from the walls that surround them, which makes them unattainable. But as musician Alison Goldfrapp demonstrates, artists can actually use social media to create mystique.

Alison Goldfrapp is one half of the duo Goldfrapp, which melds pop, dance, and electronica to create a sound that shimmers. The group is all about atmosphere. Its songs can sound lush and dreamy on an album such as Seventh Tree, and provocative on Black Cherry. The duo has carefully constructed a chic, ethereal vibe, grounded in Alison Goldfrapp’s mystique. Whereas Nicki Minaj is loud and sexual, Alison Goldfrapp is cool, sensual, and beyond our reach. She is like Ingrid Bergman reincarnated as a singer.

And Alison Goldfrapp treats Facebook and Instagram as an extension of her mystique. Many artists, such as Tame Impala, use Facebook to share tour dates, new singles, and contests. Other artists, such as Miley Cyrus, seemingly report every detail about their backstage lives, including posting photos of their friends and their fans. Goldfrapp takes neither approach. Instead, she shares photos that are every bit as evocative and mysterious as Goldfrapp’s image, often accompanied by cryptic captions that explain nothing. One day, Goldfrapp might share a ghostly image of a woman walking in the dark, like so:

ToTheWoods

Another day brings a striking close-up of a bee:

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Seldom does Alison Goldfrapp provide context for the photos aside from cryptic captions. She leaves it up to her fans to fill in the blanks. In the fan comments section, she responds to no one, thus keeping everyone guessing as to how closely she pays attention to the content people post on her page.

For Alison Goldfrapp, Facebook and Instagram are canvasses, not social media tools. She lets her fans socialize with each other through their speculation and critiques. She is faithful to her fans, providing a steady stream of visual content. But always, she is behind a veil. Rather than make you feel like you know Alison Goldfrapp better, Facebook and Instagram add color and texture to the veil of her creation. (And, of course, the idea that you can actually get to know artists through their gushy social posts is, in itself, an illusion, but a more conventionally acceptable one.)

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Alison Goldfrapp offers three lessons through her use of social:

  • Powerful visuals can say more than words if your goal is to make an impression instead of explaining yourself to your audience.

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  • You create a mystique by sparking a conversation. When no one pays attention, there is no mystique. Judging by the comments on Alison Goldfrapp’s Facebook and Instagram accounts, she creates a conversation.
  • But sharing does not have to mean joining the conversation. Allowing others to form their impressions of your art builds mystique.

Being social does not have to mean being chatty. You can create a conversation and build a community though actions, not words. Who creates mystique on social media in your opinion?

 

Micro-Content and Visual Storytelling: Gary Vaynerchuk and Mike Corak Discuss 2014 Social Media Trends

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Successful brands will figure out how to customize micro-content — especially visual stories — across disparate social networks. That’s a key take-away from the Econsultancy December 17 webinar, “The Top 8 Trends in Social Media: Opportunities for 2014.” conducted by noted entrepreneur Gary Vaynerchuk and Mike Corak of agency Ethology.

Corak, Ethology’s executive vice president of strategy, served up several trends that will shape the way marketers use social media in 2014. Among them:

  • Marketers will integrate their branded content more effectively across the social world.
  • Image/video networks such as Vine will grow, but marketers will be challenged to continue to find compelling visual content to suit the needs of visual platforms.
  • Google+ will grow given its importance as a search engine optimization play — but its social value will remain in question.
  • The collaborative economy will continue to grow.

Continue reading

How Internet Pranksters Such as Elan Gale and Randy Liedtke Take Advantage of Our “Me, Too, Me, First” Culture

ElanGale

Truth is the first casualty in the digital war for attention.

Throughout 2013, a rash of hoaxes perpetuated online have reminded us of the fragile nature of credibility in the digital world. So many attention-grubbing pranksters have hijacked digital media that CNN has declared 2013 as the year of the hoax. But 2013 is just the tip of the iceberg. Hoaxes perpetrated by entertainers, everyday people, and brands threaten to disrupt the Internet on a constant basis. Just within recent days, a rash of self-promotional hoaxes have bamboozled the news media, tarnished a national brand, and shamelessly capitalized on the death of a global hero to sling mud at a celebrity. In all cases, hoaxers are taking advantage of the “me, too, me, first” culture that pervades the digital world. It’s time to slow down and exercise some good old-fashioned critical thinking.

Continue reading

Lady Gaga Gives Her Fans a Visual Hashtag with “Applause”

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With the release of her new single, “Applause,” Lady Gaga has served a visual feast to the news media. On August 12 she conspicuously wore Kabuki-inspired face paint while making the rounds in Los Angeles to promote the first single off her forthcoming album ARTPOP. Publications ranging from Buzzfeed to The Huffington Post responded predictably by plastering her image across the media landscape. But by appearing in face paint, Lady Gaga has done more than promote “Applause” and ARTPOP to the news media: she has created a brilliant visual hashtag for her fans.

Literally all over the world, Little Monsters are creating ARTPOP-inspired fan art and selfies seemingly every few minutes on sites such as Instagram and her own LittleMonsters community. And I’m not exaggerating. My LittleMonsters feed is flooded with a nonstop river of orange, blue, green, and red hues as fans show their support for Lady Gaga — and for each other — with their Gaga-style self-portraits and art. Here are just a few examples from Chile, France, and Wales:

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There is something touching about seeing fans just putting themselves out there, braving their fear of creating amateur art because they simply want to share. For example, Little Monster nicolaHMW from Paris says that his fan art is “not amazing, but im proud of it [sic]”:

France

And the self-expression is not limited to her own website, as a few of these Instagram photos show:

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hanz0monster

The ARTPOP face paint is like a totem: a visual symbol of something that inspires and moves people. But it’s also a way for Little Monsters to spot each other instantly and bond, like fans of sports teams who wear the same logos or people on Twitter following a trending topic through hashtags. Therein lies the brilliance of her latest promotion: she’s given her fans a way to celebrate her music but also to create a reflection of each other.

Lady Gaga carries the mantel for many rock artists who long ago mastered the art of iconography. In the 1970s, for instance, Kiss inspired the Kiss army with the band’s colorful costumes, make-up, and onstage theatrics, as did David Bowie. (In fact, one of those Bowie fans was Lady Gaga, and the cover of ARTPOP has been compared to the cover of Bowie’s 1980 album Scary Monsters.)

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What Lady Gaga does (as Madonna once did) is express herself visually onstage and offstage (whereas Kiss remained a mystery offstage during the band’s heyday). In doing so, she creates and sustains a whirlwind of conversation.

ARTPOP itself lands November 11. Looks like it’s going to be a colorful fall.

How a Brand Shares Its Culture through Visual Storytelling

Floating Opera

A journalist recently asked me whether all brands should be on Pinterest. My reply: brands need visual storytelling strategies — which may indeed involve a presence on Pinterest. I recently created for agency iCrossing a visual storytelling strategy that focuses on bringing to life iCrossing’s corporate culture. You may find a presentation about that strategy on SlideShare:

Visual storytelling has transformed how iCrossing creates brand love with its clients, influencers, and its own people. Visual stories have helped iCrossing improve its reach, visibility, and engagement. What’s your visual storytelling strategy?

Continue reading

Guy Kawasaki: The Catalyst for Good

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Many of us think of Guy Kawasaki as the master of evangelism marketing, but he actually answers to a higher calling: to inspire you and me to be better people. Guy Kawasaki is what I call a market maker. Market makers are not satisfied with simply selling products and services more effectively. They think like artists and aspire to change the way people think, act, and believe.

Guy Kawasaki influenced others by teaching everyday people how to become marketers. And now he’s emerged as a Stephen Covey for the digital era by showing us how your personal values influence your professional success. Today’s re-introduction of Guy Kawasaki completes a recently launched blog series that profiles four famous market makers (including Steve Jobs, Body Shop Founder Anita Roddick, and Atlantic Records founder Ahmet Ertegun) who formed the foundation of my recently published point of view, How to Be a Market Maker. I hope you are inspired to act like a market maker, too.

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If you’ve ever Liked a Facebook page to support a brand, contributed to a program like My Starbucks Idea, or given a shout-out to your favorite restaurant on Yelp out of your sheer love for the place, you’re practicing the kind of consumer evangelism that Kawasaki helped popularize.

Kawasaki cut his teeth in the business world at a jewelry company “counting diamonds and schlepping gold jewelry around the world,” as he told the New York Times. In the jewelry industry, he learned how to sell and “how to take care of your customers.” He would really make his mark from 1983 to 1987 when he joined Apple as a software evangelist for the Macintosh computer, a role that entailed him convincing companies to write software for Mac products and to convince others to start using Macs.

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His mandate from Steve Jobs was, “Get me the best collection of software in the personal computer business,” as he would write in Selling the Dream: How to Promote Your Product, Company, or Ideas — and Make a Difference — Using Everyday Evangelism in 1991. After Apple introduced the Macintosh via an iconic Super Bowl ad in January 1984, “Initially many people condemned Macintosh and Apple as losers,” he wrote. “Macintosh didn’t have software. It was cute and easy to use but flaccid. It was a joke computer from a joke company.” Kawasaki’s job (and that of the evangelists who preceded him) was to popularize the Macintosh. Here’s how he did it:

The software evangelists did more than convince developers to write Macintosh software. They sold the Macintosh Dream. The software developers who bought into the Dream (and only some did) created products that changed Macintosh’s principal weakness — a lack of software — into its greatest strength — the best collection of software for any personal computer.

When IBM attempted to unseat Apple with its PCjr personal computer, IBM failed miserably.  According to Kawasaki, IBM failed because it sold a product, whereas Apple “evangelized a dream of improving people’s productivity and creativity.”

SellingDream

Kawasaki is the first to tell you that he did not create the title of marketing evangelist. (The title existed before he joined Apple.) But he certainly defined evangelism through practical application, and in doing so he learned the difference between evangelism and sales. He would later make the distinction this way: “Sales is rooted in what’s good for me. Evangelism is rooted in what’s good for you.” And Apple’s success, rooted in a loyal following among passionate user groups, was a testament to his work.

Kawasaki became a public figure after he started teaching others about the art of evangelism by speaking, and writing best-selling books such as the aforementioned Selling the Dream, in which he put a stake in the ground by defining evangelism in ambitious terms:

Evangelism is the process of convincing people to believe in your product or idea as much as you do. It means selling your dream by using fervor, zeal, guts, and cunning.

He was an early adopter of digital, using his popular blog, How to Change the World, as a launching pad to build a brand via social media.

Throughout his career, Kawasaki has epitomized the role of idea curator. As a founding member of Garage Ventures, he’s seeded start-ups. He launched Alltop, an online newsstand that curates best social media and news on the web. If idea curators are “the new superheros of the Web” in the words of Fast Company, then surely he’s the first of the great superheroes. Here’s how he describes his role in his ebook, What the Plus: Google+ for the Rest of Us:

By necessity I became a curator, which means that I find good stuff and point people to it. Curating is a valuable skill because there is an abundance of good content but many people don’t have the time to find it. The best curators find things before anyone else does.

He applies what he calls “the NPR model” when he acts as curator. “My role is to curate good stories that entertain, enlighten, and inspire people 365 days a year,” he writes in a May 13 guest blog post for HubSpot (a post that demonstrates Kawasaki’s astonishing penchant for helping people by sharing valuable information and asking nothing in return). “My goal is to earn the right to promote my books, companies, or causes to them just as NPR earns the right to run fundraising telethons from time to time.”

This is not to say that as a curator, Kawasaki lacks a personal vision. In his book Enchantment, he articulates a clear vision for how marketers can build enduring relationships through our personal values and behavior. As I wrote when I reviewed Enchantment in 2011, Kawasaki wants marketers and entrepreneurs to aspire for something more ambitious: changing the world one person at a time through behavioral attributes such as trustworthiness and likability. In other words, being an evangelist starts with building personal trust and treating other people with respect. Focus on values and the great marketing and communication skills will follow. For instance, communicating with clarity and brevity is not just good marketing but also reflects deeper values of respecting other people and their time.

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In Enchantment he writes, “This book is for people who see life for what it can be rather than what it can’t. They are bringing to market a cause – that is, a product, service, organization, or idea – that can make the world a better place. They realize that in a world of mass media, social media, and advertising media, it takes more than instant, shallow, and temporary relationships to get the job done.”

Kawasaki’s appeal to personal behavior influences his two most recent books What the Plus and APE: How to Publish a Book.

What the Plus is ostensibly an in-depth look at the Google Plus social media platform, and to be sure, the book offers plenty of practical tips about utilizing the social media platform for sharing content, especially through visual storytelling. But when you read What the Plus carefully, you find a manifesto for acting with good behavior in the digital world revealing itself.  For instance, repeatedly, Kawasaki urges people to treat their social sites as their homes and respect the sites of others as well.

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“Stay positive. Stay uplifting. Or stay silent,” he writes. Don’t act like a troll when you comment on someone else’s social space. And don’t tolerate jerky behavior on yours, either. “Remember: you’re a guest in someone’s home,” he writes. “Show some class.”

Elsewhere he asserts, “Your posts are like your swimming pool. You can do anything that you want. If you don’t like profanity, delete. If you don’t like bigotry, delete. If you don’t like sexism, delete. The goal is building and maintaining an enchanting presence – not exemplifying free speech.”

APE, published in December 2012, is a guide to self-publishing, and as you might expect, the book contains in-depth tips for how to write, edit, design, and market a book. But whereas some pundits might focus on the mechanics of self-publishing and marketing, Kawasaki also discusses the importance of an author’s personal behavior as a factor in helping a book succeed. In a chapter that describes how to build a personal brand, he and co-author Shawn Welch write, “Likeability is the second pillar of a personal brand. Jerks seldom build great brands.”

He goes on to write, “If you want people to like you, you have to like them first. This means accepting people no matter their race, creed, net worth, religion, gender, politics, sexual orientation, or your perception of their level of intelligence. It means not imposing your values on others.”

And true to his role as catalyst, he has launched a Google+ community, APE, for writers to share best practices and ideas for becoming successful publishers and entrepreneurs. So far the APE community has 2,200 members who have agreed to live by the rules of the road: help members learn how to write, publish, and market a book. Promoting your own services and book will earn you a ban from the community.

Kawasaki is like a Trojan Horse: you read his ideas expecting to become a better marketer, and then he slips in thoughtful advice about how to be a better person — typically by sharing and being gracious. He does so with credibility because he links personal likeability and values to successful marketing.

My research into the lives of market makers like Guy Kawasaki reveals that these extraordinary people are willing to take risks, surround themselves with talent, possess passion in abundance, and live full, eclectic lives. Guy Kawasaki definitely exemplifies the trait of surrounding oneself with talent. Consider Enchantment: in each chapter, he invites guest authors to provide their own personal stories of enchanted marketing, which makes his book more collaborative and genuine. Similarly, What the Plus! relies on guest authors for some key chapters.

And according to his HubSpot guest post, he takes the same collaborative approach managing his social spaces. For instance, Peg Fitzpatrick manages his Pinterest page. Why? “There are two reasons,” he writes. “First, I don’t have enough time to do a good job with more than three services (my priority, in order, is Google+, then Twitter, then Facebook). Second, I don’t have Peg’s magic sauce to manage Pinterest as well as the Pinterest community deserves. Part of doing social media well is knowing what you don’t know and what you can’t do well, and then finding someone who does.”

Similarly, Steve Jobs was surrounded by enormous talent, people who became famous in their own right — superstars like John Lasseter at Pixar, Jonathan Ive at Apple, and Guy Kawasaki himself. Atlantic Records succeeded not because of Ahmet Ertegun alone, but because of Ertegun and visionaries like Jerry Wexler, Tom Dowd, and Herb Abramson. Anita Roddick might have been the face of the Body Shop, but the brand would not have succeeded without the talents of its anonymous network of franchise operators.

His approach of collaborating with others and inspiring us to become better people is rubbing off on other prominent leaders. Porter Gale, the former CMO of Virgin America and now a thought leader and marketing consultant, embraces the ethos of Enchantment in her new book, Your Network Is Your Net Worth. As I wrote in a May 13 post, Gale’s book argues the case for building networks with other people to enrich the world, not to be a career opportunist.

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“A key to unlocking the hidden power of connections is helping others when you don’t expect anything in return,” she writes, using words that would do Kawasaki proud (he contributes a foreword to the book). Your Network Is Your Net Worth, being published on June 4, relies on several examples of successful people who build their happiness quotient — for themselves and for others — by giving.

By celebrating and promoting the talents of those around him, Guy Kawasaki is an evangelist in more ways than one.

Porter Gale’s “Your Network Is Your Net Worth”: A Manifesto for Succeeding by Sharing

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Sharing is the new like.

That’s the ethos of Porter Gale’s Your Networking Is Your Net Worth, a new book that guides you through the world of networking in the digital age, where relationships can be launched in seconds on Twitter and then cultivated in a high-tech co-working space like Grind, one of the many innovative locations that provide a space for people to work and expand their network. Available June 4, Your Network Is Your Net Worth has been described as an update to Dale Carnegie’s How to Win Friends and Influence People. But Porter Gale has more in common with Stephen Covey than Dale Carnegie. Like Covey’s Seven Habits of Highly Effective People and Guy Kawasaki’s Enchantment, Your Network Is Your Net Worth argues the case for achieving success by living your life selflessly.

Your Network Is Your Net Worth is not about being a better marketer or building a successful career. Your Network Is Your Net Worth is a manifesto for 21st Century living. Follow the principles of building authentic, personal Continue reading

How Smirnoff and Madonna Inspired the World to Dance

SMIRNOFF MADONNA

Co-brands between artists and celebrities are all the rage, as evidenced recently by the launch of Justin Timberlake’s relationship with Budweiser and Alicia Keys’s co-brand with Blackberry. At the Forrester Research Marketing Forum April 19, Christopher Swope of Live Nation provided a case study on how artists and brands can work together to deliver results. His discussion focused on how Madonna and Smirnoff, by tapping into shared passions such as dancing and music, generated 1.8 billion media impressions for Smirnoff and helped Madonna undertake the highest grossing tour of 2012.

As Swope pointed out, brands and musicians actually have a long history of working together, examples being Microsoft using the Rolling Stones’s “Start Me Up” to launch Windows 95 and the collaboration between Apple and U2 to cross-promote U2’s “Vertigo” with a special edition iPod. In the best cases, co-brands meet mutually defined goals, and the relationship between Smirnoff and Madonna was one such success.

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The relationship began with a business challenge for Smirnoff:  accelerate consumer engagement with the Smirnoff brand on a global level.

“We wanted to find a way to accelerate the growth of the Smirnoff brand and generate engagement,” Swope said. “We wanted to take the brand to the next level and deepen engagement and participation.”

Smirnoff knew its fans are socially savvy. So for Smirnoff, building a brand was less about “let’s sponsor and put our name on it” but rather to generate engagement and deepen relationships with fans.

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“When you are giving a dinner party, you worry about the right ingredients — mix of cocktails and people,” he said. “You want to create an experience that deepens relationships. That’s how to think about social.”

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