The Do LaB Artist Network – Issue #3: Fall 2007
NEW ISSUE UP NOW!
http://artistnetwork.thedolab
after months of work and an incredible team effort all around, the fall Artist Network is finally ready.
people without whose help this idea would not be a reality include: jesse shannon, arin ingraham, brian shaw, and albertico acosta. huge thank you to all of you for helping bring this vision to life.
“THEORY ENDS HERE”
– sign on the door to the production office at Boston University’s film department
working with so many music festivals i’ve come to see the pattern in their ticket sales to be a kind of concentrated tour through all the major factors involved in driving adoption.
like the type of excursion that shuttles travellers to all the major european cities in the course of 6 days, from the moment a pre-sale begins till the gates close a music festival’s on-sale period exposes a landscape of distinct adopter personas within the kind of condensed time-frame that could double for an academic experiment on diffusion dynamics. while the details vary from one type of music event to another, in general certain things hold true. a huge amount of tickets–often-times the vast majority–are sold late. yet most people attending a major music festival have known about it, and have actually been considering going for some time before finally making their decision. this despite the fact that a ticket at the end of the on-sale period is considerably more expensive than it is at the beginning, since tickets scale in price as lower-priced tiers sell out.
inevitably this raises the question: WHY are the vast majority of folks waiting till the ticket is at its most expensive to commit to making a purchase?
the answer to this is not only about the dynamics of adoption for music festivals, but sheds light on the factors that drive adoption in a much broader sense. a couple of months ago i wrote a post comparing various music festival websites and mentioned that:
essentially there are three things that a festival is selling:
1. the event lineup
2. the event brand
3. the event communitylike toilet paper, tissues, and paper towels, they’re all made up of the same stuff, and to a certain degree serve an interchangeable function, but at the end of the day, you do buy each for different reasons.
to broaden the application of what i’m talking about, lets consider that every time i mention “the lineup” what i am essentially referring to is the “product.” features, design elements, utility, whatever. think of “the lineup” as the thing with the actual bar-code on it–unless you too happen to be in the business of selling tickets.
what that ticket is actually SELLING–the cumulative representation of lineup, brand, and community–is different at different stages throughout the course of an event’s on-sale period. the point at which someone buys a ticket (aka where on the adoption chart they fit in) tends to be a result of the relevance that that particular combination of lineup, brand, and community has for them. these three elements are distinct adoption-drivers whose impact and interplay it is essential to understand in order to develop an effective marketing strategy–whether for a music festival or anything else really.
1. EARLY ADOPTERS BUY ON BRAND
unlike selling tangible goods, where the product and brand are generally simultaneous and thus difficult to separate and examine independently, selling an “experience” makes it much easier. when we initially launched the pre-sale for the Do LaB’s Lightning in a Bottle music festival we did not announce a lineup.
with the “product” an unknown, and the community still solely theoretical (sure, you may know who’s LIKELY to go, but the first week of a pre-sale you’re not likely to know too many people that actually ARE going) the most overt selling point was inevitably the brand.
the do lab had been creating events for seven years at that point, establishing a reputation for consistently spectacular, jaw-dropping creations, and the people who bought tickets that first week before either the lineup or community of LIB was a viable element, bought on the basis of the identification they had with the brand.
that bold stuff is the common denominator that i believe drives early adopters in general. whether you’re nike coming out with a new type of shoe, or lexus with a new model of car, or mac with a new sort of i-something, the people at the very front of the line buy on the basis of the identification they feel with the brand.
the first tier of lowest-priced tickets was sold out before we announced the lineup, having gone to the do’s most ardent early supporters. i imagine to a lot of people reading this (due to the nature of this medium’s demo) the logic in that kind of arrangement is self-evident, however, because i have seen this group be treated with the most extreme disregard, i’m going to go off on a little tangent here.
the folks who would buy a ticket without even knowing who’s playing, in a more traditional marketing model have generally been regarded as the most easily conned. the cheapest date who evidently requires the least amount of wooing. in the do lab world however, and in a world of brands that actually care about their consumers, a world that is being more and more empowered by social media, that kind of take-the-money-and-run mentality is going to fly less and less.
early adopters buy on brand, and yours better be the kind of brand that understands the necessity of rewarding them for this devotion as opposed to taking advantage of them for it, otherwise you’re going to LOSE them.
2. EARLY MAJORITY BUYS ON BRAND + PRODUCT & DRIVES COMMUNITY
the conventional assumption has been that it is the early adopters who steer a product to eventual popularity, but as the prior article on late adopter strategy pointed out, that is not necessarily the case. i’m of the opinion that it is actually the early majority that is responsible for pushing adoption against gravity, up the slope of the s-curve. in the case of LIB, an easy way to define the early majority is everyone who bought a ticket from the point when the lineup was announced, up until two and a half months later when the online sales officially ended the night before doors opened.
in the marketing bible malcolm gladwell splits the burden of causing cultural epidemics to “tip” between three types of culprits: connectors, mavens, and salesmen. gladwell gives an example of one such a maven: a man who after getting taken to a new japanese restaurant by his daughter and liking the food, comes home and sends an email to all his acquaintances who live near the restaurant recommending that they check it out. mavens, i would say, are the folks that comprise the early majority in general, and they make or break “critical mass” for adoption by generating what is technically referred to as, uh…. buzz. if you understand the impact of this, you’ll do everything you can to give them the tools and the content they’re looking for to help them do just that.
3. LATE MAJORITY – BUYS ON COMMUNITY
the late majority of a music festival is likewise easy to identify: it’s all the people who bought tickets at the door. in the case of LIB07 this turned out to be approximately 2/3 of the total purchasers. since this was a weekend-long camping event, it’s not exactly the kind of thing that had a spur-of-the-moment appeal. pretty much all of the late majority had known about this festival for a while. they knew the lineup, they knew the brand, but did not make their purchase until the last minute. why?
they were waiting on the community aspect to build. for the late majority, it is the community–a factor that is nonexistent when the tickets are inexpensive–that makes the higher price of the ticket worth it. when the buzz gets loud enough is when the late majority starts to realize that they don’t want to miss out on getting to share an experience with all their friends. in the same way that brand functions as the major motivator for the early adopters, community fills that role for the late majority.
in the conversation that is going on right now about how to measure the success of social engagement, an interesting factor to throw into the equation is that the “late majority” gets the thing once all their friends have it and won’t shut up about it–and this applies to whether we’re talking about a ticket to a festival, a pair of sneakers, an mp3-player, whatever. the better a brand’s social engagement strategy (and this transcends simply online social engagement, by the way), the easier it is for the early majority to build that buzz. the “effectiveness” of social engagement can thus be seen as directly correlated to the size of a product’s “late majority” purchasers. (tho it sure don’t hurt the other categories none either).
in the end, it comes down to developing a strategy that addresses what is relevant to the different personas on the adoption curve (in the broadest sense: brand, product, and community), and likewise is then able to proactively anticipate and deliver on these elements in ways which will help expand the adoption to the next phase.
improv everywhere is a NY-based outfit dedicated to causing “scenes of chaos and joy in public places.” while similar to “flash mob” style escapades–large numbers of people appearing in a public place and then disappearing suddenly–improv everywhere’s goals for its “missions” extend beyond just organizing fun for the participants, but also focus deliberately outward to all the various bystanders caught along the way:
“We bring excitement to otherwise unexciting locales and give strangers a story they can tell for the rest of their lives. We’re out to prove that a prank doesn’t have to involve humiliation or embarrassment; it can simply be about making someone laugh, smile, or stop to notice the world around them.”
i just watched a video of their latest mission, the MP3 Experiment Four, in which participants all downloaded an MP3 of an “omniscient voice,” all convened in a park in lower manhattan, pressed play at the same time, and were all simultaneously guided through something like a cross between a game of simon says and a scavenger hunt.
what i found most fascinating about the whole process was the relationship that develops between the people “in” the game, and the unsuspecting random strangers who get caught up in it by accident. at one point everyone listening to the mp3 was instructed to point to the tallest building they could see. below is a picture from improveverywhere.com where someone not part of the experiment decided to join in and point as well, presumably without any idea as to why or at way exactly he was pointing, simply playing along with what everyone else around him was suddenly doing. (perhaps he wanted to see what the point of pointing was all about? maybe there would be a prize? or maybe it was just a case of monkey-see-monkey-do?)
during another part of the experiment participants were instructed to see if they could give a stranger a high five as the group walked from one location to another. anyone on an NYC-street knows what a high-five is all about, although it’s definitely not the kind of thing one expects to get from a random passerby. yet when so many people are doing it it becomes apparent that it’s not just some weird isolated incident, but that there is some kind of underlying code going on for this group that you are not aware of.
living in a polyglot, globalized world we’re prepared for the constant encounter with cultures and behaviors unlike our own, to the point that these different cultures around us have become almost like exhibits in a museum. vividly on display to us, but not to be touched by the tourists. in the same way we tend to just tune out the advertising that is not specifically directed at us and our culture. but is there a way for a message to manage to catch the attention and the interest of people outside of the group for whom it was specifically intended? like the way that the results of the instructions in this MP3 experiment swirled strangers up in a kind of cultural dust devil as it passed by. for a moment all the “tuning-out”–especially necessary in a place like new york–couldn’t stop an unexpected bit of strange behavior from compelling you to interact with it.
interesting stuff to consider especially in terms of how it applies to marketing messaging. how are the people on the “outside” interacting with a message targeted to a specific group? and even if they are passing it by without so much as a high-five, what are they hearing in it about the community for whom it is intended (and the brand)?
MP3 Experiment 4
Part 1:
Part 2:
in her essay “Viewing American class divisions through Facebook and MySpace” a few months ago, danah boyd offered her observations on the dichotomy she was seeing emerge in user-demographic trends on myspace/facebook. a dichotomy that involves such ethnographic aspects as lifestyle, heritage, even aesthetics, for instance.
MySpace became popular through the bands and fans dynamic before the predator panic kicked in. Its popularity on the coasts and in the cities predated Facebook’s launch in high schools.
MySpace is still home for Latino/Hispanic teens, immigrant teens, “burnouts,” “alternative kids,” “art fags,” punks, emos, goths, gangstas, queer kids, and other kids who didn’t play into the dominant high school popularity paradigm. These are kids whose parents didn’t go to college, who are expected to get a job when they finish high school. These are the teens who plan to go into the military immediately after schools. Teens who are really into music or in a band are also on MySpace. MySpace has most of the kids who are socially ostracized at school because they are geeks, freaks, or queers.
The goodie two shoes, jocks, athletes, or other “good” kids are now going to Facebook. These kids tend to come from families who emphasize education and going to college. They are part of what we’d call hegemonic society. They are primarily white, but not exclusively. They are in honors classes, looking forward to the prom, and live in a world dictated by after school activities.
Many hegemonic teens are still using MySpace because of their connections to participants who joined in the early days, yet they too are switching and tend to maintain accounts on both. For the hegemonic teens in the midwest, there wasn’t a MySpace to switch from so the “switch” is happening much faster. None of the teens are really switching from Facebook to MySpace, although there are some hegemonic teens who choose to check out MySpace to see what happens there even though their friends are mostly on Facebook.
Most teens who exclusively use Facebook are familiar with and have an opinion about MySpace. These teens are very aware of MySpace and they often have a negative opinion about it. They see it as gaudy, immature, and “so middle school.” They prefer the “clean” look of Facebook, noting that it is more mature and that MySpace is “so lame.”
today it occurred to me that this pattern sure seems to mimic the whole urban flight phenomenon that happened in the US after ww2, when the newly invented “suburb” was touted as the sophisticated refuge from the overcrowded, unsanitary, dangerous unwashed masses of the city. interestingly, this phenomenon also happens to be known as “white flight.”
from wikipedia:
White flight is a term for the demographic trend where working- and middle-class white people move away from increasingly racial-minority inner-city neighborhoods to white suburbs and exurbs. The phenomenon was first named in the United States, but has occurred in other countries as well.
without time to go into a whole history of urban anthropology (urban decay, levittown, etc.), it still makes for interesting food for thought.
extending the analogy, it makes you wonder what the online social network version of gentrification might someday look like.
like a true teenage product of the 90’s i blame video games.
last week i caught the tail end of an npr bit about the nintendo wii which mentioned that the console was currently outselling both sony’s playstation and microsoft’s xbox combined. the explanation for this seems to be that because of its uniquely simple controller the wii is able to appeal to a much broader audience than the other more complicated consoles. the implications of that on the dynamics of adoption is what’s inspired this recent investigation on the subject.
about a year and a half ago i was busily dashing all over L.A. on a quest for sneakerheads. while scouring undefeated, kicks, sportieLA, kendo, greyone, and generally cruising melrose ave. like a freakin pimp (in the traditional sense of the word), i was actually on a black ops consumer insight mission. i was working with an agency that was preparing to pitch pony, and so we wanted to glean from these kicks connoisseurs info on the current state of shoedom. now, sneakerheads are folks with an average of like, oh…. say 80-180 pairs of sneakers (i don’t know if maybe you do, but i don’t think i own 180 pairs of anything), and i was on a quest to find these experts and offer them the opportunity to get to talk about their #1 favorite subject: shoez.
yet uniquely suited to aiding and abetting the process of marketing research with their undisputed ability to distill meaningful patterns out of that which to the layperson is just chaos, though they may be, these kinds of experts hanging out on the knuckles of the s-curve arm have a very obvious shortcoming. that very same expertise skews their particular perspective. these VERY early adopters, who get up while all the rest of us are still sleeping, typically represent a demographic whose expectations and predispositions are colored by the standards of what kathy sierra calls the “higher resolution experience,” an experience that by its very eliteness does not translate to the majority.
from sierra’s keynote speech at sxsw this year:
“For example, some of you may be going to the music festival [portion of sxsw]. There may be some of you who are going to get laid or for beer. Some of you may actually understand something about the kind of music, and you may have some deep appreciation for some aspects of the music. You’ll hear different notes; you’ll hear more notes; you’ll hear things the rest of us don’t hear. I’m not a music expert, but I have a little bit of experience with mixing boards, so it kinda sucks, because I’ll go to a concert, and I’ll be like, “Oh, if I could just get my hands on those faders”– so it’s a little bit of a higher-resolution experience for me.”
the funny thing is that only an expert would even TALK about the “higher resolution experience.” everyone else doesn’t have any clue that such a concept even exists or what the hell it means. so think about what that implies about the resonance of a campaign (or product) that stringently emphasizes the “higher resolution experience.” there is a whole population of people that aren’t simply “not going to get it,” but rather what they ARE going to get is the message that “this here is not for me.”
which brings us back to the subject of the wii.
before the wii, the video game industry had become mired in a sort of stagnation. newer consoles were coming out, but there was nothing actually new emerging at all (guitar-hero not withstanding for the moment). as each iteration seemed to only up the complexity (i.e “resolution”), of the same sort of staid video game experience, their appeal was becoming more and more narrowed.
from an article in TIME last may on the eve of the wii release:
“The one topic we’ve considered and debated at Nintendo for a very long time is, Why do people who don’t play video games not play them?” [Nintendo president Satoru] Iwata has been asking himself, and his employees, that question for the past five years. And what Iwata has noticed is something that most gamers have long ago forgotten: to nongamers, video games are really hard. Like hard as in homework.
not only were novice users turned off by the intimidating (read: not fun) learning curve, but this wasn’t so good even for the people who could see the hi-res stuff, as many hardcore gamers were getting bored by the substitution of complicatedness for innovativeness.
and then along comes the wii to breathe simple, accessible, fun, new life into the world of the video game console.
Nintendo has grasped [an] important notion that [has] eluded its competitors. Don’t listen to your customers. The hard-core gaming community is extremely vocal–they blog a lot–but if Nintendo kept listening to them, hard-core gamers would be the only audience it ever had. “[Wii] was unimaginable for them,” Iwata says. “And because it was unimaginable, they could not say that they wanted it. If you are simply listening to requests from the customer, you can satisfy their needs, but you can never surprise them.”
and you also can’t necessarily rely on them to show you how to appeal to new KINDS of customers. particularly, customers at a different point on the adoption curve. a year after that time article came out, advertising age reports that the wii’s popularity is “part of a growing phenomenon that’s overhauling the video-gaming industry…. Video gaming is beginning to transcend the solitary boy-in-the-basement stereotype with a new generation of gamers including women, older people and younger children who want to play in a more social atmosphere.” (like, who knew, right?)
by deliberately pursuing a strategy to appeal to the majority, nintendo not only managed to bypass the bottleneck at the left elbow of the gamer bell-curve, but, in fact, to actually expand the very scope of what is a “gamer” identity.
another great example of this is what lexus did in the process of developing the strategy for their certified pre-owned (CPO) car program. CPO cars offer an array of late model, low-mileage vehicles, passing or meeting stringent manufacturer’s inspections, and backed by manufacturers’ warranties.
initially the auto industry lumped CPO customers in with the used car buyers, until a whole lot of research revealed that CPO vehicles actually appeal to their own unique kind of luxury car consumer, a demo that exists in a distinct category between “new” and “used.”
from the book Using Market Research to Create Effective Advertising:
(das what the man said)
The auto industry approach to marketing CPO vehicles was completely discordant with the consumers’ real needs and shopping patterns…..
People interested in a CPO vehicle begin with a consideration of what brands and models are right for them. Status, image, and the more emotional elements of a car purchase are at play. Pricing and budgeting decisions, which drive the used-car buyers’ purchase process from the beginning, do not factor into the CPO car buyers’ process until much later.
These findings were critical in leading Lexus and Team-One to the conclusion that CPO buyers actually mirror new car buyers’ shopping patterns and behaviors, rather than used car ones.
much like nintendo’s strategy with the wii, by focusing on the particular needs of consumers that exist beyond the early adopters Lexus’s CPO strategy expanded not only their understanding of their own brand’s adoption, but the scope of the entire class of luxury car consumers.
an interesting thing to also mention here is that while the wii has gained huge popularity in the majority, it has likewise engaged the curiosity and the desire for something new and fresh from seasoned gamers. likewise the success of lexus’s CPO campaign is no doubt an added incentive to the new car purchasers’ in the sense of increased security about the car’s resale value.
rather than a strategy developed to appeal to early adopters with the expectation that it will eventually transcend to everyone else, these are two examples that represent an approach that appeals directly to groups situated further along the adoption curve. distinct and viable markets do indeed exist beyond the early adopter, and not every strategy can or needs to be designed to specifically suit that one first group. understanding the differing needs and tastes of consumers along the various stages of the adoption curve, and developing strategies to address these groups’ expectations in targeted, relevant ways is key.
