What’s more impressive: the fact that 195 nations signed a global accord on climate change or that Star Wars: The Force Awakens lived up to the hype?
I’m going to go with Star Wars. The Paris Agreement to fight climate change still needs to be implemented. The Force Awakens has delivered the goods, earning a 94-percent certified fresh rating on Rotten Tomatoes, and shattering box office records following an unprecedented $350 million marketing blitz from Disney.
Noteworthy promotion that was worthy of analysis in and of itself — in some cases for being inventive and in others for just being over the top.
Box office success that exceeded estimates.
Critical success, as measured by whether a film received a “fresh” rating on the popular Rotten Tomatoes website, which aggregates reviews from critics and the public. A fresh rating means that at least 60 percent of composite reviews are favorable. All of the films I’ve selected are not only fresh but also “certified fresh,” meaning the earned positive scores from at least 75 percent of reviewers.
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.
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.
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.”
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:
Bynecessity 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.
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.”
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.
“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.
“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.
If Steve Jobs were alive today, he would be the first to tell you he was not the only person responsible for making Apple succeed. But let’s face it: Steve Jobs defined the Apple brand, a reality that has been underscored lately by grumbling among the pundits that Apple is in danger of losing its swagger and cool (examples hereand here). Maybe Jobs defined Apple too well. But the reason we can’t stop talking about him today is that he transcended the Apple brand and did more than sell products. He was a market maker. I recently introduced the term market makerto describe business people who act like artists and change the world with their personal visions. Successful marketers sell things; but market makers inspire people to act, to believe, and to live their lives differently. Jobs is one of four market makers, including Ahmet Ertegun, Anita Roddick, and Guy Kawasaki, whom I profile in my recently published white paper, How to Be a Market Maker. Jobs influenced entire industries, ranging from consumer products to music. But is he so extraordinary that everyday people cannot relate to his achievements? I think not. I believe we can adopt a little of Steve Jobs at his best by living our lives with passion no matter what we do.
Steve Jobs is the kind of market maker we might call a creator. Creators are directly involved in the development of products and services for a company. Creators have a vision for how the world should work and are bold enough to impose that vision on those around them through the products and services they develop.
By now Jobs’s life is so well known it plays like the plot of a movie we’ve all seen hundreds of times (and, of course, we’ll soon be able to see a real movie about him): his explosive early years at Apple, when his company introduced a new vision for fusing design, user experience, and computing; the exile from Apple, when he founded the revolutionary Pixar Animation; and his glorious second act as CEO of Apple, when the company completely disrupted industries ranging from music to telecommunications by introducing wave upon wave of innovative mobile devices that changed how we consume content.
Throughout his storied career, Jobs, more than anyone, humanized technology. So great was his impact on popular culture, that upon his death, his image graced the covers of publications ranging from The New Yorker to Rolling Stone. Macs came along when personal computers were widely perceived as the province of a nerdy few. Apple did something that still seems astounding: turned an impersonal computing device into something warm and desirable.(My family still owns our clamshell iMac from the late 1990s — even though we don’t use it anymore, we just love having it around because with its sleek cover and aqua green finish, it looks like a piece of art.)
And of course Apple helped disrupt the entire music industry through iTunes and the iPod — liberating music from the limits of analog and empowering consumers to make music part of their mobile lifestyles. As Randy Lewis of the Los Angeles Timeswrote, “With Apple’s iTunes and iPod, [Steve Jobs] revived the single, put music libraries in fans’ pockets and posed a challenge to brick-and-mortar record stores and radio.” Record companies, betting on the long-term success of the compact disc, failed to respond to how Apple was helping to turn consumers from album aficionados to snackers of individual digital downloads. The music industry is still trying to catch up.
Jobs’s legacy at Apple is so astonishing that it’s easy to overlook what he accomplished by founding and developing Pixar. Pixar would eventually do far more than create high-quality blockbuster entertainment. Pixar changed movie making. Pixar movies taught Hollywood how to gracefully fuse technology, humanity, and storytelling. The Pixar team created movies that somehow turned animated objects like toy cowboys into fully realized characters injected with humanity.
In doing so, Pixar made it cool for anyone to enjoy a family film: single gay male urbanites, suburban parents, children, teens too self-consciously hip for Bambi — to name but a few demographics. Pixar has touched. Pixar launched animated movies that children can enjoy again as fully-grown adults — and that adults can enjoy for the first time without children in tow. By contrast, even Disney classics like Snow White and Pinocchio are forever remembered as animated family movies that children appreciate the most.
Steve Jobs best exemplifies a trait common to all market marketers: a burning passion. Steve Jobs “put passion into products,” noted James B. Stewart in one of the many heart-felt tributes to Jobs written in the aftermath of his death in 2011. In his acclaimed biography, Steve Jobs, Walter Isaacson describes the moment when unveiled iTunes to jazz trumpeter Wynton Marsalis, who turned out to be an indifferent audience:
“Watch what it can do!” Jobs kept insisting when Marsalis’s attention would wander. “See how the interface works.” Marsalis later recalled, “I don’t care much about computers, and kept telling him so, but he goes on for two hours. He was a man possessed. After a while, I started looking at him and not the computer, because I was so fascinated with his passion.”
Isaacson also recounts the time Jobs decided to make a major overhaul to the design of the iPhone as the project neared completion, telling designer Jonathan Ive that “‘I didn’t sleep last night because I realized that I just don’t love it’ . . . Ive, to his dismay, instantly realized Jobs was right.”
In fact, Jobs expressed his passion for design in every aspect of his life. He personally supervised the construction of an old-fashioned brick factory-style building for Pixar, and according to Brent Schlender, if the colors of the custom-made bricks were not distributed evenly enough, Jobs made the bricklayers tear apart the bricks and start over. (But those exacting standards also had a down side. When people failed to live up to what he wanted, he could be brutal and insufferable, as you can read in Ben Austin’s Wired August 2012 cover piece, “Do You Really Want to Be Like Steve Jobs?”)
All the market makers profiled in this white paper demonstrate passion.
Anita Roddick, founder of the Body Shop, was passionate about human rights, and, in particular, women’s rights. The entire premise behind the Body Shop was selling cosmetics without sexism and eschewing the cult of youth. Guy Kawasaki is passionate about injecting enchanting values and practices in the work place — and if you’ve ever worked with him, you know he has an equally strong zeal for clear, simple communication. Ahmet Ertegun, co-founder of Atlantic Records, was so passionate about music that he sometimes lived in the studio with the artists on his label.
It doesn’t matter whether you work for a pet food store or write for a living: you can be a market maker by acting with passion.
As an avid movie goer, I applaud the recent financial success of Imax — the company that offers movies on giant screens with overwhelming sound. According to Bloomberg Businessweek, within the past two years, box office sales for movies shown on Imax screens have more than tripled, and Imax says it will have 600 screens in operation by the end of 2011, up from 266 in 2005.
Why the growth? Because Imax fulfills a promise that 3D technology still struggles to deliver: make movies on the big screen more fun and immersive.
To me, 3D amounts to gilding a lilly. I don’t miss 3D when I see the same movie with and without it. Toy Story 3 comes to mind. Pixar technology is already stunning in 2D; the animation humanizes Woody and Buzz Light year. 3D on top of Pixar technology is like putting flashy hubcaps on a well designed Mercedes.
But Imax elevates two essential elements of the movie going experience — sight and sound — to a completely different level, something “immersive and massive” in the words of director J.J. Abrams. The world that James Cameron created for Avatar becomes otherwordly when experienced on an Imax screen that is 72 feet wide and 53 feet high, with uncompressed sound delivered in six channels.
The Rolling Stones are something more than a legendary rock band entertaining you from behind a celluloid screen when you see Mick Jagger and Keith Richards light up the Beacon Theatre in the Imax version of the concert film Shine a Light — they are a larger-than-life legendary rock band pulling you into an experience of their creation.
Perhaps 3D represents the long-term future of movies. If so, I hope 3D can become something more than tarted-up special effects and uncomfortable glasses that make you feel like a nerd when you wear them. Fortunately, the financial success of Imax suggests that massive screens and enhanced sound will be part of that future, too.
And that’s something I’m willing to pay extra for — ironically an affirmation of what movies on the big screen were supposed to have been all along until the advent of theaters with screens the size of postage stamps: an experience full of wonder that you cannot get at home.
At the 9th Annual Razorfish Client Summit, Razorfish Strategy executive Joe Crump asked a simple question: why can’t we innovate more often? His premise: innovation, like pornography, is something we recognize easily when we see it — the Virgin Galactic, the customized Dell laptop, or just about anything Pixar creates. But even when top marketers and designers try to innovate, 80 percent fail. He stated many reasons why:
We mistakenly equate innovation with creativity, which makes innovation feel more like serendipity
We don’t really try to innovate. Most of us are just content making incremental improvements to our work
We measure the wrong things. We obsess with click-through rates instead of wowing the consumer with brilliant engagement.
We use the wrong tools. Focus groups are the enemy of innovation.
We rely on processes that kill innovation.
We equate innovation with advertising. As Joe put it, “If I were in the television ad business, I would assume the crash position.”
So, if what Joe says is true, what’s the answer to actually innovating? In a word, experience.
“Stop obsessing on marketing messages, and start obsessing on better product experiences,” Joe said. Then he gave a preview of the Razorfish Experience Wheel, a new process that Razorfish is developing to create fresh consumer experiences.
And then Joe did something quite remarkable.
in TED-like fashion, he challenged Client Summit attendees to share with Razorfish a business problem, a global problem, or just something that plain bugs you. Razorfish will spend the next year using the Experience Wheel to create an innovative solution the problem.
Want to play? Please send your problem to email@example.com. Joe will do the rest. We’ll report back to you in about a year.