a trend’s success

Is The Tipping Point Toast?” asks the recent FastCompany article in which researcher duncan watts talks about his findings (and their less than exuberant reception) that expose the billion dollars a year marketers spend targeting “influentials” as a waste of money.

i am constantly repeating the phrase that “we buy the brands and products that we feel express aspects of our identity,” and this applies to ideas as well. we buy into and espouse the ideas that express aspects of who we are. our “intuition” in that sense, could be seen not so much a kind of internal tuning fork dinging to the tone of the universe, but rather an insidiously partial filter which evaluates the validity of information based on its compliance with our ingrained personal predispositions. for marketers–an avocation that calls for a particular breed of identity, of course–it’s no doubt easy to latch on to the idea that a select few influential individuals wield the capacity to push trends over the tipping point simply by their involvement in the process. after all, considering what we do it’s pretty “intuitive” for us, isn’t it?

from the fastcompany article:

Marketing has always relied heavily on instinct and intuition. Admen like to believe they’re creative geniuses, gifted at truffling out social trends (which is why, they hasten to point out, they’re irreplaceable). Joe Pilotta, research VP for a firm called Big Research, suspects marketers cling to their belief in Influentials partly because they’re lazy. They love the idea of needing to reach only a small group of people to “tip” a product, he says with a laugh. Plus, it strokes their egos: “Think about it. You’re saying, ‘I am in control–I am the biggest influencer, because I am going to influence the influencers!’ It’s an arrogance that only the corporate world could enjoy.”

which certainly makes ME wonder to what extent what we know–or believe we know–about the nature of how marketing is supposed to work is actually based on the the egos of CMOs as opposed to on actual social theory. how about you?

see, i think all of coolhunting is a ridiculous waste of time. there is no universal “cool” that exists out of context, and while i do believe strongly that marketers themselves are NEVER the demo, i also think that all of us are subject to the context of the cultures or communities of which we are a part. translation: cool matters not because it’s “cool” but because–and only if–it’s culturally relevant. and while relevance sounds a lot less sexy than its mistaken-identity doppelganger, cool, it’s relevance that “trends” are really about.

Watts decided to put the whole idea to the test by building another Sims-like computer simulation. He programmed a group of 10,000 people, all governed by a few simple interpersonal rules. Each was able to communicate with anyone nearby. With every contact, each had a small probability of “infecting” another. And each person also paid attention to what was happening around him: If lots of other people were adopting a trend, he would be more likely to join, and vice versa. The “people” in the virtual society had varying amounts of sociability–some were more connected than others. Watts designated the top 10% most-connected as Influentials; they could affect four times as many people as the average Joe. In essence, it was a virtual society run–in a very crude fashion–according to the rules laid out by thinkers like Gladwell and Keller.

Watts set the test in motion by randomly picking one person as a trendsetter, then sat back to see if the trend would spread. He did so thousands of times in a row.

The results were deeply counterintuitive. The experiment did produce several hundred societywide infections. But in the large majority of cases, the cascade began with an average Joe (although in cases where an Influential touched off the trend, it spread much further). To stack the deck in favor of Influentials, Watts changed the simulation, making them 10 times more connected. Now they could infect 40 times more people than the average citizen (and again, when they kicked off a cascade, it was substantially larger). But the rank-and-file citizen was still far more likely to start a contagion.

Why didn’t the Influentials wield more power? With 40 times the reach of a normal person, why couldn’t they kick-start a trend every time? Watts believes this is because a trend’s success depends not on the person who starts it, but on how susceptible the society is overall to the trend–not how persuasive the early adopter is, but whether everyone else is easily persuaded. And in fact, when Watts tweaked his model to increase everyone’s odds of being infected, the number of trends skyrocketed.

i really like that phrase, so i’ll write it again: A trend’s success depends not on the person who starts it, but on how susceptible the society is overall to the trend–not how persuasive the early adopter is, but whether everyone else is easily persuaded.

we buy the brands, products, ideas, political candidates, etc., etc., we feel express aspects of our identities. a trend’s success depends not on how COOL it is, but on how effectively it manages to express a common-enough identity aspect. in other words, one way to look at the success of the trend that is “The Tipping Point” itself is that it has managed to express an identity aspect shared by a whole lot of marketers. not because it was cool, perhaps not even because it was RIGHT, but simply because it resonated with a particular–and particularly widespread–identity.

perhaps instead of building databases of “trend-spotters,” “brand evangelists,” “influencers” or whatever else those agencies that are so proud of themselves for getting to sit at the “cool kids” table want to call them, a more useful application of money would be to research the dynamics of our ability to BE influenced. and when i say “our” i mean all of us, marketers included. because, after all, being human helps in the process of figuring out how to communicate to other humans.

and maybe i read it wrong, but to me gladwell’s book wasn’t ever really about some people being blessed with the ability to start trends better than others, but rather some people being more curious, and thereby simply ending up in the way of more trends. consider how many more things an “early adopter” tries out that NEVER take off than the average person? they don’t necessarily help more stuff tip, they just try more shit out. what? were you expecting a different model? if so, maybe you should stop saying the word “viral” so much. that might aid a perspective shift:

Perhaps the problem with viral marketing is that the disease metaphor is misleading. Watts thinks trends are more like forest fires: There are thousands a year, but only a few become roaring monsters. That’s because in those rare situations, the landscape was ripe: sparse rain, dry woods, badly equipped fire departments. If these conditions exist, any old match will do. “And nobody,” Watts says wryly, “will go around talking about the exceptional properties of the spark that started the fire.”

so… “If influentials cannot tip a trend into existence–and if success in a networked society is quite random–what’s a poor marketer to do?” The article suggests that, “Since you can never know which person is going to spark the fire, you should aim the ad at as broad a market as possible–and not waste money chasing “important” people.” and while i agree with this, I think the “ultimate irony” proposed at the end of the article is misleading:

“If you really buy [Watts’s research], the most effective way to pitch your idea is … mass marketing. And that is precisely what the wizards of Madison Avenue, presiding over our zillion-channel microniche market, have rejected as obsolete. “

cultural relevance–especially in a networked society–is not entirely as random as watts’s algorithmic computer simulations, and simply broadcasting a message doesn’t make it more relevant, but there is no special group of cultural gate-keepers that get to decide what’s going to be relevant and what’s not.

“I think that all books like The Tipping Point or articles by academics can ever do is uncover a little piece of the bigger picture, and one day–when we put all those pieces together–maybe we’ll have a shot at the truth.”
– Malcom Gladwell

    



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mad toys!

a friend turned me on to madtoydesign.

totally freakin cute!

 

    



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bonnaroo 2008 site launches

just a quick note to announce that the new bonnaroo site i consulted on for threshold just launched yesterday.

it ain’t just your regular music festival website, that’s for sure.

check it out:

bonnaroo.jpg

    



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website workshop for artists, musicians, & indie entrepreneurs

work with an event creations company, and you too will end up producing an event:

it is a pleasure to announce that i will be leading a workshop on february 9th in los angeles to help creative professionals make more effective websites.

musicians, artists, and creative entreprenuers in general tend to share the same requirements for an effective website, and very often make the same mistakes when creating one. my goal is to make sure attendees gain an understanding of the options, strategies, and resources at their disposal for creating an online presence that will help move their business forward, and leave ready to start implementing them right away.

more information on the workshop and tickets can be found at: social-creature.com/workshop

feel free to pass this on to anyone you think would benefit from the information.

    



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sell music on ANYTHING!

it used to be that the only way to sell music was on completely useless crap. like weird tape, or dumb plastic discs, or even clunkier vinyl discs. whatever it was, it was something that served absolutely no other utilitarian or aesthetic purpose than simply to host music. then, of course, digital media came along and liberated music from this contrived confinement, and everyone (not employed by a record label) was overjoyed that now you no longer had to sell music on SOMETHING. but i think the really cool part of this liberation from the tape and discs is that now you can sell music on ANYTHING.

dropcards has the right idea, to start:

1. Upload:
Sign up for a Dropcards account and upload your digital media. Create a Dropcards profile or place a redemption widget right on your own website.
2. Design:
Upload your card artwork and we’ll print and ship you high quality plastic download cards with a unique Access Code on the back along with the URL where the card holder can redeem the card.
3. Distribute:
Sell or distribute your cards! The card holder will log on to your website and enter their card’s Access Code to download your media successfully bridging the gap between the physical and digital world.

and while this option is super primed to take full advantage of physical-world impulse buy potential, ultimately it’s still just selling music on an otherwise pretty much useless piece of plastic.

so then, just this week in fact, dropcards introduced “dropdrives”:

Committed to finding creative physical solutions to the distribution of digital media, Dropcards, the leader in digital download cards is proud to introduce our new line of custom branded and pre-loaded high speed USB drives.

Dropdrives can be imprinted with any artist or company logo and pre-loaded with music, video, anything! We are rolling out our new line with twelve different shapes, 64mb up to 2GB of storage space and cool options such as auto-run and data lock with many more features to come.”

definitely much more useful, and would be way cool, had i not already seen a way WAY cooler application of the concept:

 

Illuminated 1GB Crystal Key

USB 2.0 Flash Drive

  • Move, share and store your music, videos and files
  • High Speed, USB 2.0 connection
  • Wearable, comes with leather necklace cord
  • Glows when you plug it in

Pre-loaded with :

Chapter 01

and while we’ve all got our “finding creative physical solutions to the distribution of digital media” hats on, the LA Times reports that Taser has come up with THIS accompanying fashion accessory:

Play your favorite songs while on the go, with this combination TASER C2 Holster and easy-to-use music player. Carry your TASER C2 and music in one convenient case. The 1 GB TASER MPH Holster offers you both security and music while on the go.

ooooookay….. well, while “mixing music with security” is super sketch, at least it illustrates my point: you can now sell music on ANYTHING!

it doesn’t even have to be on technology. dropcards happens to offer the option of slapping that access code onto a plastic card, but… we can put number sequences on pretty much anything:

My barcode

if you’re a musician i’d say it might be time to reconsider your whole concept of “merch.”

and if you’re a brand i’d say you just developed the opportunity to become a distributor of digital content. of course, i trust you’re not thinking about it as an additional revenue source, right? but as a way to add credibility to your brand by connecting your consumers with their favorite artists? good thinkin’.

ps:

    



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