Category Archives: Branding

Media mindreaders

I blogged a few days ago about TiVo’s sophisticated methods of tracking what viewers find interesting, second by second.

Well, forget that – because I’ve since discovered another company which makes this level of temporal granularity look like RAJAR diaries.

NeuroFocus is a Californian operation which tests the effectiveness of commercial messages (ads, brands, packaging etc) by measuring brain activity.

In practice this means sitting a subject down in front of the relevant stimulus,  then plotting their thoughts and emotional responses millisecond by millisecond via a network of 64 sensors attached to their scalp.

Researchers have tested films and ads by biometric means (like heartbeat) before, of course. But Dr  Robert T. Knight from NeuroFocus explains why this is way too slow:

The brain’s timeline – ‘See it, Extract it, Turn it into Emotion/Memory, Begin to Plan a Response’ – is all over in half a second [500 milliseconds]. Peripheral responses such as sweaty palms, pupil dilation, heart rate, are all indirect measures and very sluggish, 5-7 seconds. This is long after the real activity is done.

Instead, the company claims: “Neuroscience provides a deep, clear view into the real-world, real-time reactions of consumers at the most elemental level – their brainwaves”.

Here are the company’s methodology and deliverables for Advertising Effectiveness:

  • Consumers are recruited, pretested, and familiarized with our session setup analytical equipment and techniques
  • Consumers are pre-screened for demographic, attitudinal, behavioral, and psychographic segmentation
  • Consumers are presented with a series of chosen ads deliberately interspersed with normal viewing features in a setting that measures attention, emotional engagement and memory/retention across the ad set
  • Data is acquired and processed by our neurophysiology and psychometrics teams
  • Quantitative indicators of attention, emotional engagement, and memory/retention are calculated from high density electrode arrays
  • Componentize the target ad into key constituent elements (images, faces, actions, spoken words, written words, sounds, and other client indicated discriminants)
  • Utilize paradigms to elicit neuro physiological reaction measurements to determine which aspects of the ad contribute most and least to the overall effects identified in analysis
  • Provide design feedback to ad designers on each of the chosen components based on analysis
  • Identification of strengths and weaknesses of the target ad
  • Recommendations for improving, refining, and reusing segments of the ad
  • Bloody hell.

    Pseudo-science or the bleeding edge of media research? I’ll leave you to decide.

    Modern packaging drives me nuts: Part 2

    You may recall I recently declared war on modern packaging – in particular, the strained, pseudo-matey language that increasingly covers it.

    I saw this in Boots today and couldn’t let it go unblogged:

    shapers_sandwich2

    The “taste equivalent” of a holiday for my tastebuds? Wow, that’s both meaningless and tautological.

    As for “your tastebuds between malted bread” – hmm, I think I’ll keep mine stored safely on my tongue, thanks.

    Who writes this absolute dung?

    The Sugababes Paradox

    In his peerless book of brainy meditations on pop, A Year With Swollen Appendices, Brian Eno considers the issue of authenticity. What is it? And when is it lost?

    Eno cites the apocryphal tale of George Washington’s axe:

    This is Washington’s original axe. Its head has been replaced twice, and its handle three times.

    In centuries to come, logicians and philosophers will have a new conundrum to ponder: The Sugababes Paradox.

    Did the north-west London trio stop being Sugababes when Siobhan left? Probably not. How about when Mutya did one? Not really.

    But with Keisha apparently slinging her hook with immediate effect, surely The All New Sugababes (containing, as they do, precisely 0% of the original line-up) can no longer really be Sugababes?

    Of course they can. In the wonderful, innately inauthentic world of pop, any or all of them could be replaced by singing dwarves, Trappist monks or crossdressing Portuguese postal workers – and if their management decided to call the result Sugababes, then Sugababes they shall be.

    In fact the really interesting prospect is what will happen 20 years down the line, when all former members sue each other for the use of the name and develop competing careers playing working men’s clubs as The Original Sugababes, Heidi Range’s Sugababes, Mutya And The Sugarbabes… you get the gist.

    So instead of quibbling, let’s take a moment to recall two true gems which have emerged from their camp over the years.

    First, unquestionably their finest moment as a group: the classic, original line-up with their debut single Overload.

    The second clip comes courtesy of the first band member to fly the nest, Siobhan Donaghy.

    Donaghy’s solo blend of miserable, slightly difficult pop has been steadfastly refusing to trouble the charts since 2003. This is her best single to date, Overrated. I’m a fan.

    God bless the Sugababes’ legacy, and the thousands who’ve worked to create it!

    Modern packaging drives me nuts: Part 1

    Back in my magazine days, one of the most interesting people I interviewed was Richard Reed – co-founder of Innocent Drinks.

    I wrote the piece in 2000 when the company was just starting out.  Their mega-success was still a few years away – as was their eventual partial sale to Coke.

    But there was one thing that was already firmly in place when I visited them: their schtick.

    Richard and I talked on deckchairs outside their office/factory on an unglamorous industrial estate off Goldhawk Road – a building they’d cutely dubbed Fruit Towers.

    Innocent van - (c) Innocent DrinksDaisy the “cow van” – complete with udders, a tail and eyelashes on the headlights – was parked alongside us (cue perfect photo opportunity).

    The company’s backstory was already finely honed for maximum “quirky entrepreneur” appeal.

    And – last but definitely not least - the labels on the dozen smoothies which they kindly gave me to take home were dotted with little quips, puns and jokes.

    Drinks label (c) InnocentInnocent’s labels were unique at the time (not just in the drinks business, but in the UK FMCG field as a whole). They were whimsical and irreverent. With a very light touch, they communicated something profound about the character of the brand.

    And people loved them – so much so that the company eventually posted an archive of past classics here.

    As Innocent’s success grew, the inevitable happened. Other brands tried to follow -  making their own labels less formal. More “inclusive”. Chattier.

    What those other brands had forgotten was this: writing that kind of stuff effectively is hard. Really bloody hard. But that wasn’t going to dissuade them from churning out their own cack-handed attempts.

    Which brings us to the present day.

    In the supermarket this weekend I lost count of the number of products attempting to pull off Innocent’s trick.

    Pseudo-matey straplines on packets. Really, really strained jokes that wouldn’t have reached the wastepaper basket at Innocent, let alone the printers. Instructions full of slighly desperate, Jamie Oliver-style exhortations to “bung it in the oven at 220 degrees, then stick your feet up for half an hour”.

    And – my absolute pet hate – “positioning statements” like:

    We’re obsessed about yogurt. Some might say passionate. Hey – maybe even a bit obsessed. So sue us. Our chef was so excited when he made this blend, he phoned up all his mates and…

    Gah!

    It’s become an epidemic. And in my capacity as  - if I may be so bold – a connoisseur of great writing in small, trivial, unlikely environments (like cornflake packets and bus tickets), it gets right on my nerves.

    So this is part 1 of an ongoing series. In future the most gear-grinding, teeth-gnashing examples I spot will be flagged up here.

    Together we can rid Britain’s shops of this scourge.

    An honest rebranding?

    When big corporations try to pose as minnows, the results are rarely pretty.

    I came across an interesting example today. Apparently Starbucks – struggling to retain their once-dominant position in the coffee market – are trialling some lower-key, less corporate-looking outlets. A sensible strategy.

    But there’s a cynicism in the way they’ve gone about it which can only – in my view – backfire against them.

    15th Avenue Coffee & Tea in Seattle is the first of this new crop of stores. Its website is full of folksy homilies to the outlet’s local, earthy, “streetlevel” approach. It features a blog from manager Jenna, who enthuses:

    it’s such a pretty store at night and hearing local talent do their thing in our store… it’s just rad [...] i am so excited to be part of this block!… great people, families, dogs, groups that meet and discuss, interest in the arts, politics, divesity, etc. thank you for welcoming us:)

    Nowhere on the site is there any reference to Starbucks – in actual fact, every care is taken to make it look as handcranked and uncorporate as possible (down to the store’s Gmail address: 15thavecoffeeandtea@gmail.com).

    You can’t help but imagine the high-level meetings held to decide exactly how many typos and punctuation errors on the site would denote true “authenticity”.

    starbucksNow, there was already bad press brewing in the neighbourhood when other local coffee vendors reportedly spotted Starbucks staff loitering round their stores scribbling into files marked “Observations”.

    It didn’t look great, either, when the decor of the new store apparently followed its indie rivals’ organic, weather-beaten look a little too slavishly.

    But the real problem from where I’m sitting is that the store’s website tries to pretend none of that ever happened; that 15th Avenue Coffee & Tea is simply another local independent enterprise.

    Never mind that the unit used to be a Starbucks before last month. Never mind that a simple whois search on streetlevelcoffee.com reveals the domain name was registered by Starbucks Corporation earlier this year. And never mind that the web is full of quotes from “presidents of global development” and “senior vice-presidents of global design” talking about the new plans.

    You’d have thought Starbucks would have learned from fiascos like Wal-marting Across America, where a blogging couple claimed to be travelling the US, camping overnight in store carparks thanks to the largesse of Wal-mart (and telling happy tales of Wal-mart employees as they went). They were subsequently unmasked as being in the pay of PR company Edelman: one a freelance writer; the other a professional photographer for the Washington Post.

    So why couldn’t the coffee giant have been straight-up on their site, discreetly making clear this was among a new set of formats they were trialling?

    They’d still have taken some heat from those inherently opposed to corporate America.

    But at least the web wouldn’t be full of bad buzz from many who think Jenna’s “rad” outpourings are a clunky way to effect corporate repositioning.

    The sound of Windows

    It’s easy to take it for granted, but if you use a PC at work or home, one of your most frequent daily sonic experiences is the Windows startup music - that brief moment of ear candy as your machine boots up.

    In production terms, you might think this music’s fairly trivial.

    But over the last couple of decades, as version after version of Windows has hit the market, startup music has moved inexorably from software development afterthought, to major Hollywood-style throw-money-at-it extravaganza.

    Think I’m exaggerating? I’ve just stumbled across this video, which gives an insight into the production process for Vista’s theme music. In case you need reminding, this “theme” is a flimsy four notes (not especially hooky ones, at that) over a wispy chord. Pleasant enough – probably an afternoon’s work.

    Except that to create this theme, Microsoft brought legendary guitarist and ambient music guru Robert Fripp over to Redmond to lay down a day’s worth of “soundscapes” which would then be edited down into (as far as I can tell) a single chord underpinning the tune.

    Or to quote Microsoft themselves:

    This single session resulted in over six hours of multi-channel raw tracks including hundreds of melodies, textures, soundscapes, and orchestrations.  After this session, it took another three months of orchestration, iteration, remixing and refinement to select the final four seconds that became the final Windows Vista startup sound:  a “glassy” Fripp melody, a harmony by Steve Ball, and a “Win-dows Vis-ta” rhythm contributed by composer, Tucker Martine.  This all on top of a brief Fripp Soundscape that fades out as the user lands on the Windows Vista log-on screen.

    Nice work if you can get it.

    But let’s step back for a moment, and see how we got to this point. Here’s a compilation of Windows themes from version 3.1 to the present day. I guarantee you’ll find it more evocative than you expect.

    Underneath: my “professional” opinion on each one. I’d love to hear your take on them too.

    Windows 3.1

    Look in the dictionary under “rudimentary”. You’ll find this.

    Windows 95

    The music which launched the “superstar muso” trend within Microsoft – created, as it was, by everyone’s favourite egghead (well, mine anyway) Brian Eno. In Eno’s words:

    The idea came up at the time when I was completely bereft of ideas. I’d been working on my own music for a while and was quite lost, actually. And I really appreciated someone coming along and saying, “Here’s a specific problem – solve it.”

    The thing from the agency said: “We want a piece of music that is inspiring, universal, blah- blah, da-da-da, optimistic, futuristic, sentimental, emotional,” this whole list of adjectives, and then at the bottom it said “and it must be 3 1/4 seconds long.”

    I thought this was so funny and an amazing thought to actually try to make a little piece of music. It’s like making a tiny little jewel.

    In fact, I made 84 pieces. I got completely into this world of tiny, tiny little pieces of music. I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work. Then when I’d finished that and I went back to working with pieces that were like three minutes long, it seemed like oceans of time.

    Windows NT Workstation 4.0

    Rather evocative of this 1980s “digitised thistle” ident for Scottish Television. What d’you mean I carry too much musical trivia in my head?

    Windows 98

    This one is most notable for its use of stereo. About halfway through, the theme suddenly spreads super-wide in a frankly gratuitous way (like a character in a 3D movie sticking their hand ostentatiously out of the screen). But no matter – it does sound gorgeous.

    Windows 2000

    I have a major soft spot for the Windows 2000 music, largely because it feels – out of all the themes – the closest to an old-school TV ident. Like this beauty:

    Windows ME

    Like the operating system itself – barely worth acknowledging.

    Windows XP

    Can’t help but be disappointed by this one. Neither hooky nor atmospheric, it falls frustratingly between several stools.

    Vista (Beta version)

    Now this one I do like -it’s classy, reassuring and substantial. I can’t quite understand why it was dropped in favour of the eventual Vista sound package, other than (my best guesses):

    • This package was thought to be “not airy and translucent enough” for Vista’s brand values;
    • Someone at Microsoft thought getting Robert Fripp in would make for better press.

    Either way, I’d like to shake the hand of whoever composed this one. Now, where are those settings? Control Panel… Hardware and Sound… Change System Sound…