how not to use condoms

I know the Trojan “Evolve” Campaign has been going on for a while now, but just recently something occurred to me that I hadn’t quite realized about it before.

The campaign started out last June, with the premiere of a commercial featuring women being hit on by a bar full of anthropomorphized pigs. It’s only when one of the pigs finally shuffles off to the men’s room, and purchases a condom, that he is transformed into a hot guy, and returns to the girl he was chatting up to find that she’s now suddenly totally interested in him.

In addition to the ad, whose message at the end reads: “Evolve. Use a condom every time,” the campaign also includes a website, evolveoneevolveall.com, driven by celebrity and user-generated videos dealing with the subject of sexual health, the Trojan Evolve National Tour, a mobile, experiential campaign “Raising awareness and stimulating dialogue about America’s sexual health in towns and campuses across the country,” radio ads that deal with STDs as Christmas gifts (“How about Herpes? It’s the gift that keeps on giving.” / “Would you like Chlamydia wrapped?” / “No, I’ll give it to her unwrapped.”) and more. All of this, hinging on the word “Evolve.”

“Evolve is a wake-up call to change attitudes about using condoms and, on a larger scale, the way we think and talk about sexual health in this country,” said Jim Daniels, Trojan’s VP of marketing. As Andrew Adam Newman pointed out in the New York Times piece, “Pigs With Cellphones, but No Condoms,” the campaign is an evolution for Trojan itself:

While Mr. Daniels does not disparage the company’s double-entendre-heavy “Trojan Man” campaign from the 1990s or similar Trojan Tales Web site today, the tone of the company’s promotions is moving away from “Beavis and Butthead” and toward “Sex and the City.”

“The ‘Evolve’ ad does a nice job of being humorous, but it’s also a serious call to action,” Mr. Daniels said. “The pigs are a symbol of irresponsible sexual behavior, and are juxtaposed with the condom as a responsible symbol of respect for oneself and one’s partner.”

Newman suggest that “The perennial challenge for Trojan and its competitors is the perception that [condoms] are unpleasant to use.” But I think, for a company that, according to A. C. Nielsen Research, has 75 percent of the condom market (Durex is second with 15 percent, LifeStyles third with 9 percent), Trojan oughtta have really known better than that.

“Over the last few years conservative groups in President Bush’s support base have declared war on condoms,” wrote Nicholas D. Kristof, in an opinion piece, also in the New York Times:

I first noticed this campaign last year, when I began to get e-mails from evangelical Christians insisting that condoms have pores about 10 microns in diameter, while the AIDS virus measures only about 0.1 micron. This is junk science (electron microscopes haven’t found these pores), but the disinformation campaign turns out to be a far-reaching effort to discredit condoms, squelch any mention of them in schools and discourage their use abroad.

Then there are the radio spots in Texas: ”Condoms will not protect people from many sexually transmitted diseases.”

A report by Human Rights Watch quotes a Texas school official as saying: ”We don’t discuss condom use, except to say that condoms don’t work.”

Last month at an international conference in Bangkok, U.S. officials demanded the deletion of a recommendation for ”consistent condom use” to fight AIDS and sexual diseases. So what does this administration stand for? Inconsistent condom use?

Kristof was posing this question back in 2003, while he could still add, “So far President Bush has not fully signed on to the campaign against condoms, but there are alarming signs that he is clambering on board.”

In the now almost six years since, the very subject of contraception has become as politicized as abortion, and the emphasis on condoms’ ineffectiveness has become a standard component of Abstinence-Only sex education. (You knew about that, right?) It’s even begun to affect mass media. In a written response to Trojan about why they would not air the pigs-with-cell-phones ad, Fox (which had aired prior Trojan ads) said “Contraceptive advertising must stress health-related uses rather than the prevention of pregnancy.” CBS refused to air it, too, and didn’t even offer further comment. Meanwhile, as paid advertising for condoms is being turned away, in the past few months I’ve seen at least two TV shows where characters made a point of mentioning that condoms don’t work: Fringe, and The Practice–a show about DOCTORS for cryin’ out loud! (Clearly, “First do no harm” must not apply to the practice of TV medicine.)

As a teenager of the 90’s, I’ve never known a world where AIDS didn’t exist, and where condoms were anything but an unequivocal necessity for “safe sex” (also a 90’s-ism that seems to no longer be in use, replaced instead by the millennial “sexual health crisis”). Sure, no one was going around preaching that condoms are 100% fail-proof, but in the decade when Magic Johnson and Greg Louganis both came out as HIV-positive, I can’t imagine any TV program deliberately broadcasting (or being allowed to get away with it), the kind of message that says, “Condoms don’t work. So why bother using them at all?”

As of 2006 the birth rate among 15 to 19 year-olds in the United States has risen for the first time since 1991 (that was the year of Johnson’s announcement). While teenage sex rates have risen since 2001, condom use has dropped since 2003. In other words, more teenagers are having more sex, and using less and less condoms in the process. But then, Jamie Lynn Spears or Bristol Palin could have told you that.

And so it is we find ourselves in a situation where Church & Dwight—the consumer products company that owns Trojan—is taking on what should have been the responsibility of the Department of Health and Human Services. Teenage or not, the U.S. apparently has the highest rates of unintended pregnancy (three million per year) and sexually transmitted infections (19 million per year) of any Western nation. (What the fuck?!)

“Right now in the U.S. only one in four sex acts involves using a condom,” Says Daniels. “Our goal is to dramatically increase use.” Then what in God’s name convinced the Kaplan Thaler Group, the New York advertising agency that created the “Evolve” campaign, that aligning condoms with evolution was the way to go about achieving this?

Cuz here’s the thing: The majority of Americans do not believe in evolution!

http://graphics8.nytimes.com/images/2007/06/18/business/media/18adcol.600.jpg

(CRAP!)

In fact, according to 2006 research in Science Magazine, out of 33 European countries where peolpe were asked to respond “true”, “false”, or “whuuuu?” to the statement: “Human beings, as we know them, developed from earlier species of animals,” the only country that scored lower on belief in evolution than the US is Turkey (Also what the fuck?!)

Disturbing as this unfortunate reality may be, this is the contemporary American Landscape, and pushing Trojan as “Helping America evolve, one condom at a time,” in the face of it, seems ludicrous.

Hell, why not just call the campaign “Darwin’s theory of contraception,” while you’re at it?

The biggest threat to condoms is not the perception that they don’t feel good. It’s not even condom fatigue. The biggest threat to condoms is the Christian Right’s propaganda that they don’t work, and the government’s, and much of media’s, wholehearted complicity. And it’s the same people who are waging a war on contraception that don’t like Evolution either. I don’t know about the ultimate impact that the Evolve campaign is effecting (or not), but in my view, if, as Daniels says, Trojan’s focus is on growing the market beyond the–pardon the irony here–already converted, and getting more people to use condoms, I think a completely different slogan/campaign theme would be the way to go.

    



Subscribe for more like this.






lame ad. great mashup.

This is tripping me out. I was just going to write a quick post about how terrifically lame I think the outdoor ads for The Day The Earth Stood Still are. It’s basically just a stock-photo image of the Earth’s curvature, against a black outer-space backdrop, with big, block-y, white letters that read: “THEY’RE HERE. WE’RE GONE.”

I keep envisioning some situation where it’s like, they actually had some really kick-ass, slick-style design, and a tag-line that wasn’t written by Tarzan, but it was so high-concept and mind-blowing that it got stuck in endless rounds of focus groups, and approvals and whatnot, and as everyone was scrambling around, the deadline to get the final ad design to wherever it is that billboards and bus-wraps get printed was fast approaching, until it was only, like, minutes away, and finally some executive at 20th Century Fox got some assistant to open up MS-Paint and just slap the thing together, and clicked “Send.”

It’s so unimaginative and uninspired, and so blatant its sheer simplicity actually makes it totally meaningless. 1996 called, it wants its rejected Independence Day poster design back. In fact, so do I Robot, I am Legend, and a bunch of other future/apocalypse Will Smith movies. For that matter, every aliens/robots/zombies/mutants/monsters movie, ever, does too. At a time when our options for global crisis threats could not feel any less extra-terrestrial or non man-made, this just seems so irrelevant. Especially for a movie where the alien looks and talks exactly like Keanu Reeves, and says totally climate-crisis-compliant stuff like, “If the Earth dies, you die. If you die, the Earth survives.

There! Look! That could have been such a better tag-line. I mean, anything could, really.

This ad is such a boring disaster that no one has even bothered to take a photo of it, or scan it or upload it or anything. It’s actually almost impossible to find any image of its lameness online anywhere.

Almost.

What you CAN find, however, is this:

They're Here, We're Gone by NYC Comets.

Right on the heels of my previous post, about the Death Race/alcohol ad “PSA” for “Race,” this one mashes up The Day The Earth Stood Still with 90210, and is just as awesome! Not to mention, packs a message that’s actually relevant in the 21st century.

Well played, billboard mashup artist.

Ps. In the previous post, I was speculating that this kind of thing couldn’t be an accident. I am now completely convinced.

Billboard mashup is so the new street art. Word.

    



Subscribe for more like this.






the next stage in the evolution of alternative marketing

    



Subscribe for more like this.






you are not our fans… are you?

beatlesfans
Beatles fans Vs British police.

Right after writing about how cool I thought it would be to bring fictional characters to life on social media, I discovered that the employees of Sterling Cooper, the Madison Ave. advertising agency where the characters on AMC’s series Mad Men work, were all up on Twitter. For anyone unfamiliar, Twitter.com is a social networking site that allows users to communicate with their friends online and via text messages using posts of up to 140 characters in length (a.k.a. micro-blogging.) The characters’ profiles linked back to the AMC site, and they communicated with one another, and with their followers, “in character” and even in speech true to the show’s 1960’s-era time-period. So while it was never explicitly evident, it seemed only logical to assume, as many did, that AMC was behind this progressive and endearing move to use social media to enable its show’s characters to communicate and coexist with its fans. And then, not two weeks after first discovering their appearance on Twitter, the Mad Men characters’ profiles began being systematically suspended.

AMC, it turned out, had in no way authorized their existence on Twitter, and their very presence there apparently constituted a violation of the Digital Millenium Copyright Act, so Twitter was forced to comply with a take-down notice, and suspended the accounts. This, of course, instigated a major online backlash, fueled by both the personal disappointment (“Why has Twitter hijacked my beloved @don_draper (and friends)? Looks like i’ll be drinking alone 2nite.”) and professional indignation (“thinking that AMC using the DMCA to kill off the Twitter characters is a huge FAIL.”) of people who related enough to a show about communications professionals to befriend its characters — wOOOPSIE!!

At the urging of Deep Focus, AMC’s marketing group, the profiles were un-suspended. “Better to embrace the community than negate their efforts,” said a Deep Focus spokesman. (Not to mention all that free, fan-generated promotion.) To the legal dept. these actions were perceived as a hostile menace, and yet to the marketing side, this was exactly the kind of fan behavior AMC should support. The manifesto on wearesterlingcooper.com, which came into existence shortly after the reinstatement of the profiles, speaks to the this kind of emergent disconnect:

Fan fiction. Brand hijacking. Copyright misuse. Sheer devotion. Call it what you will, but we call it the blurred line between content creators and content consumers, and it’s not going away. We’re your biggest fans, your die-hard proponents, and when your show gets cancelled we’ll be among the first to pass around the petition. Talk to us. Befriend us. Engage us. But please, don’t treat us like criminals.

All along, whenever fans have climbed a little too far, or gotten a little too close, or somehow managed to gain an unauthorized degree of power, they have always been treated like criminals. The difference in the digital age is that this kind of power is now within reach to more and more fans. Our capacity to affect that which we fancy is now, in many ways, as accessible as the internet, and suddenly it means that the rules that once applied to the dangerously overzealous can now be a response to all fans. This contention in the line between fans and criminals is perhaps nowhere more heated than around music.

A few days after the Mad Men Twitter profiles were back in action, the LA Times business section headline read: “Blogger Kevin Cogill charged with felony in leak of Guns N’ Roses songs.” Having “waited half his life for a new album,” Cogill posted nine not-yet-released tracks from the 15-years-in-the-making album, Chinese Democracy, streaming (not for download) on his website. Because of the Family Entertainment and Copyright Act of 2005 he now faces felony (vs. civil) charges, which if he is convicted mean $250,000 in fines and three years in prison. Asked for comment, Slash, former Guns N’ Roses lead guitarist, said, “I hope he rots in jail.

I mean, “I hope he rots in jail,” is an epithet more applicable to, like, a rapist or something, but here it is, nevertheless, being flung at someone motivated by a desire to share his love for a band, and increase that love for more people. Even just in writing this post I am noticing that it’s gotten kind of hard to say pretty much anything sympathetic about the actions of music fans these days without it sounding like a defense of music piracy. Which is more than a little problematic, because what does it mean for any entity that thrives on the support of an engaged fan-base, when its most avid enthusiasts can be just a matter of perspective away from its greatest threat?

The Wall Street Journal just published an article about how various companies are dealing with negative domain names such as ihatestarbucks.com or boycottwalmart.org. Some companies, like xerox, pre-emptively buy up negative domains before some disgruntled customer can, and then leave sites like ihatexerox.net and ihatexerox.org blank. Southwestsucks.com, on the other hand, redirects to a customer service page on the actual Southwest Airlines site, where people can then submit their complaints. And Bank of America apparently even goes so far as to solicit feedback and address consumer concerns on bankofamericasucks.com–which it does not own. None of the strategies mentioned in the post involved pursuing any kind of take-down notice or legal action. God bless the haters, and all, but when fans’ freedom to express themselves is considered a bigger threat, seems like maybe it’s time to reexamine the situation.

For the US government–which has no plans to stop using taxpayer money to bring more cases like Cogill’s in the future–there isn’t really a difference in the way that it would go about treating individual music fans vs. big commercial piracy rings. Craig Missakian, an assistant U.S. attorney in Los Angeles, said, “Prosecution like this makes others think twice.” I’m thinking, anyone for whom success and fan support are inextricably linked (governments need not apply) could stand to think twice, or three times even, about the changing nature of this relationship.

“Every record for the last four—including my solo record—has been leaked,” Thom Yorke said in a Wired piece on The Real Value of Music. Talking about the motivation behind Radiohead’s groundbreaking release strategy for their latest album, In Rainbows, he continued, “So the idea was like, we’ll leak it, then.” Months before the CD was available in stores, fans were able to download the tracks online via Radiohead’s site, and pay what they wanted for them–even if it was nothing. There are different ways to interpret the results and successes of this, the first experiment of its kind, but what it was unequivocally effective at is making strides to address the new dynamic between fans and music. Rather than dictating that “you are not our fan unless you’re one like WE say you can be,” this approach was designed to give fans, as Pitchfork put it, “the freedom to pay actual money for what amount[ed] to an album leak.”

Whether you’re a cable network or a music act, or anything else that develops content whose success depends on your relationship with your fans, understanding the freedoms that your fans now demand is the key. You might even discover you can appreciate their involvement.

And on that note, check out the youtube response video that Electronic Arts and Tiger Woods came up with a few days after a fan named Levinator25 posted a video of a glitch he’d found in EA’s new golf game:

.

    



Subscribe for more like this.






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

    



Subscribe for more like this.