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Old Spice and the Return of Ad-Power: Are "Transformats" the Future of Marketing?

Silver Fish Hand Catch! As the social web’s echo chamber is gushing about Wieden+Kennedy (W+K)’s masterful Old Spice campaign (actor and former football star Isaiah Mustafa wowing viewers with his smooth-talking delivery in video replies to hundreds of online queries or comments tweeted to him by web users), first spoofs are manifesting its pop-cultural credentials, and the meta-story is increasingly becoming the story ("how did they do it?"), both practical and philosophical questions arise. The jury is still out on the campaign’s commercial impact (various news sites and blogs are reporting that sales have fallen by 7%, which various other news sites and blogs dispute). I’m more interested in the campaign as a cultural phenomenon and its lasting implications: Is it a one-off nifty idea or are we witnessing the emergence of something bigger than that, a whole new paradigm for marketers and content producers, as Mashable claims?

Without a doubt, several things are remarkable about the Old Spice campaign. First of all, the numbers: A total of 183 individual video responses have been posted to the Old Spice YouTube channel, and to date the videos have attracted more than 38 million individual views. During the campaign, the Old Spice channel was the most viewed channel on YouTube, and it is now the third most subscribed channel ever on the site’s “sponsor” category. Total upload views for the channel, a metric that includes the original TV ads, currently stand at over 92 million. The final video reply, addressed to “everyone,” has amassed 3.3 million views and over 20,000 comments alone. As of today, the brand’s official Twitter account has grown to 92,000 followers.

Secondly, the campaign has exposed a key ingredient of viral content - disruption, in the form of a classic “What If” proposition that challenges conventional views: What if the main character of a commercial suddenly takes on a life on its own and starts directly responding to viewers?

Thirdly, Old Spice has probably been the first campaign to be both hyper-individualized (Mustafa's individual replies to Twitter users) and hyper-social (spreading virally as people have forwarded and embedded the replies). In fact, the very personalization of the responses has made them so unique and worth sharing. And all of that at hyper-speed: Seldom before has an advertising campaign produced so many highly personalized pieces of content in such short amount of time.

Lastly, the campaign has beamed us back into an age of Mad Men superpower, perfectly coinciding with the imminent launch of the new season of our favorite TV series this weekend. Ironically, though, rather than by relying on traditional persuasive ad-power Mad Men’s clout has been restored by an ad agency using social media of all things. Or, to be more precise: Transmedia. After already toying with them for their 2008 “Somebody Else’s Phone” campaign for Nokia, W+K borrowed the principles of Transmedia again for Old Spice – but this time augmenting them to much more visible effect.

Consider Transmedia a variation of social media. The term is commonly attributed to Marsha Kinder, who premiered it in her 1991 book Playing with Power in Movies, Television, and Video Games: From Muppet Babies to Teenage Mutant Ninja Turtles. Communication scholar Henry Jenkins (author of Convergence Culture, formerly at MIT, now with the Annenberg School in L.A.) then made it popular by crafting a theory of “Transmedia Storytelling” in a Technology Review essay, depicting it as a cross-platform narrative where each platform adds something meaningful to the fictional world – whether it’s more back story, deeper stories for secondary characters, the interactive dimension of a game, or new opportunities for the fans to participate in telling the story. More specifically, Jenkins laid out the “Seven Core Concepts of Transmedia Storytelling”: Spreadability vs. Drillability, Continuity vs. Multiplicity, Immersion vs. Extractability, Worldbuilding, Seriality, Subjectivity, and Performance.

Over the past ten years or so, Transmedia has again and again been considered the “next big thing” without ever really breaking through into mainstream. Battlestar Galactica, the Batman series, or The Matrix were sporadic examples of innovative Transmedia entertainment plays, but only as of late, the proliferation of games, social media, and mobile platforms has given rise to a more widespread adoption of the concept.

Transmedia is now increasingly popular for content producers who are facing economic pressures to maximize their assets across platforms. The NBC series Heroes is often cited as a watershed moment, and Tim Kring, its creator, is widely seen as the man who made Transmedia plausible for a mass TV audience. Kring is also one of the forces behind Conspiracy for Good, a large-scale cross-platform movement that attempts to use Transmedia to support social causes – Lina Srivastava calls this “Transmedia Activism.” At the heart of the Conspiracy for Good experience is a locative event over the course of three weeks in London, starting in mid-July and running until August 7th. Another recent example of Transmedia Storytelling is the comic franchise The 99, Naif Al-Mutawa’s vision of Muslim superheroes that he has extended to multiple media formats. Moreover, Wired UK recently hired agency Six to turn its latest issue – featuring a cover story on Transmedia – into a transmedia Alternate Reality Game (ARG). There are even some who call the iPad “the world’s first transmedia device” – a questionable notion given the rather retro lean-back mode of consumption that the iPad encourages.

Before this backdrop, the Old Spice campaign is arguably the most comprehensive use of Transmedia in an advertising context to date, and it serves as the blue print for what I call “transformats.” I would pinpoint their three main characteristics as follows:

- Transmedia: Transformats use a multi-modular presentation of narratives that extends the story across various media and allows a social web-enabled “audience formerly known as the audience” to participate in the story development. In the case of Old Spice, it went full circle: from YouTube to Twitter and back.

- Transcendent: Transformats transcend not only the original medium but also the original story, creating new meaning beyond the conceived plot. In the case of Old Spice, the main protagonist was given a life on its own and the power to directly interact with members of the audience. Thus, the story became an open-ended conversation, and the initial message faded amidst a chorus of issues (user-)generated by the cultural fabric of the social web.

- Transformative: Transformats advance marketing best practices and lift the state-of-the-art. Key here is that the design of the marketing program itself is the story (see meta-marketing), or at least an integral part of it. Case in point: The majority of coverage on the Old Spice campaign heralded its innovative quality, and many stories were background stories that shed light on “the making of.” Perhaps that’s the most powerful thing about innovation, from a marketing perspective: True innovation always is a story in and of itself.

Transformats may indeed constitute a whole new framework for state-of-the-art marketing. They may span even more media (TV, social web, movies, radio, print, AR, etc.), zig-zag more artfully between virtual and real world, and incorporate more gaming mechanics that incentivize users through “achievements” modeled on behavioral economics. Besides advertising, transformats may also have a place in media outlets: Imagine direct video responses from reporters to readers’ comments or interactive maps that enrich stories by pulling in user-generated real-time data and commentary, as a hybrid of professional and citizen journalism. Or reporters who post their intent to run a story and publicly ask for input and feedback (a moderated WikiLeaks, if you will, where readers can follow the genesis of a story). Or articles that readers can “park” after the morning read of their print newspaper, just to pick them up in the evening on their TV screen (as envisioned here by the NYTimes R&D lab). All of this would make the newsroom of the future a social media-savvy, super-convergent, real-time multimedia production studio, with the release cycles of stories shrunk to almost zero, and various media and engagement modes extending their life cycles to X.

It doesn’t require too much imagination to see transformats also play a seminal role in transforming education, healthcare, civil society, and even politics. Already, Gwynne Kostin, director of new media and citizen engagement at the General Services Administration, examines on GovLoop how to “adopt ‘Old Spice’ success to government” by embracing what she extrapolates as the campaign’s main tenets “speed, planning, talent, and trust.” While this ambition appears to be perhaps a bit of a stretch at this point, the overarching trajectory is evident: In an economy where attention is as scarce as commitment to action, stories that transcend their original storyline, set new standards for their genre, and engage people across various media can make a difference. As the complexity of our societal challenges is increasing, our solutions are becoming more open-ended. In other words: To tackle X-problems, you need to have X-conversations. Old Spice was just the beginning.

The Great Healthcare Debate

While the rest of the developed world looks at the controversy over healthcare reform in the US with a mix of embarrassment and disbelief, Americans have experienced a raging debate this summer that was to a large part driven by word-of-mouth online.

MotiveQuest, a research firm, has evaluated the healthcare chatter bouncing around the Internet. It pulled data from more than 100 health and political forums and blogs, representing more than 2,000,000 posts and 110,000 people in the average month. Categorizing the debate’s language into thematic groups (treatments, payment methods, doctors/patients, and the uninsured), it has tracked how the online conversation evolved over time.

View the results

(via WOMMA)

Remarketables 09.04

This week's collection of remarkable marketing links, curated by the frog marketing team.

A Megaphone for Generation M (“Meaning”): HP's “Declare Yourself” campaign

A History of Innovation: The Henry Ford Museum is launching a new series on the history of innovation. It says that it wants to connect all these innovation gurus with YOU to show that we all can be inspired, innovate, create, etc. However, there isn't a platform for anyone to submit their own stories or prove that the “common American citizen” can be the next creator of change…

Where Are My Leads? A new perspective on the old sales-marketing conundrum.

Big Brother.com: Learn how the Internet sees you.

Mission Impossible?: Understanding the Creative Director

The Brand is You: 25% of search results for the world's top 20 brands link to user generated content.

Tweet Yourself To Hawaii: Marriott’s smart sweepstakes campaign on Twitter.

12 Rules for Bringing 'Social' to Your Business: Go share!

SOCAP09 (Social Capital Markets) Conference Brings Together Social Innovators from Government and Business

The Social Capital Markets (SOCAP) Conference, a landmark gathering of top business and government leaders creating market-based solutions for social impact, is taking place September 1-3, at San Francisco’s Fort Mason Center.

SOCAP brings together a unique mix of the world’s leading social innovators – traditional investors, impact investors, social entrepreneurs, philanthropists, new media, NGO’s and non-profits, wealth managers, development agencies, venture capitalists, MBA students and other groups interested in the growing opportunities of social capital — who are catalysts of change across the globe.

Last year’s conference gathered more than 650 leading global investors and entrepreneurs from 26 countries. This year’s conference from September 1-3 in San Francisco is sold out again and features speakers from the Skoll Foundation, Participant Productions, Food Inc, GRITtv, LINKtv, Invisible Children, Global Giving, the World Economic Forum, Virgance, Kiva, Change.org, Ushahidi, McKinsey, The Economist, and many others. The opening keynote will be given by Sonal Shah, Director of the White House Office for Social Innovation.

“SOCAP09 is the premier event that puts the flow of capital to social good into a context,” says Founder Kevin Jones. “In these turbulent times, social innovators in the public and private sectors, from foundations to social venture funds to development agencies to grassroots Web 2.0 activists, are working together to build a new economic foundation for the world. With our expert speakers, high-impact sessions and exciting networking events, SOCAP09 is an essential gathering for anyone interested in the burgeoning field of social capital.”

I will be there, too, and report. You can also follow the conference online via:

SOCAP09 Blog

Twitter: @socap09,#socap09

The New Digital Divide

After participating in frog's first Digital Brand Think Tank in Munich a couple of weeks ago (a lively discussion with 20 marketing executives from Audi, BMW, Google, Continental, and other top-tier brands), I must admit that I’m a bit tired of having to evangelize (or even justify) the value of brands using social media. It is astonishing to me that companies still ask for evidence when the tweet is on the wall. The event showed that there is a new Digital Divide that cuts straight through the ranks of the marketing industry – some executives get the Social Web, some don’t. No one has figured it out yet. Most would admit that they need to catch up and keep learning.

Marc Mielau, head of digital media at the BMW Group, certainly belongs to the former cohort, and at the event in Munich he shared some interesting insights into his company’s much acclaimed online strategy. BMW has long been on the leading edge of marketing innovation and has embraced social media formats early on (remember the hugely successful branded entertainment “The Hire” film series, featuring renowned directors like Wong-Kar Wai?). To me, more than the actual programs, the most remarkable thing about BMW is how the company has managed to establish a culture of marketing innovation. It is much easier to pull off a sporadic viral hit than to build and sustain a proactive and trendsetting digital marketing engine.

Management guru Peter Drucker once wrote, “The business enterprise has two – and only two – basic functions: marketing and innovation. Marketing and innovation produce results: All the rest are ‘costs.’” BMW took this axiom literally and created a “Marketing Innovation” group. Mielau described how the Bavarian carmaker concluded that an innovative brand needed truly innovative marketing and consequently put its money where its mouth is. With the Marketing Innovation department, it installed a function that was freed of any P&L pressure, given a considerable budget, and the mandate and support to experiment with various types of emerging marketing technologies and techniques – occasional failures included. Serving as a sort of marketing R&D, sounding board, incubator, and innovation catalyst, the Marketing Innovation group explores new user behavior trends on the web and on mobile devices, while at the same time rapidly prototyping tools and campaigns to address them. While not every program has been an immediate or massive success – BMW’s engagement in Second Life, for example, was terminated, albeit in an elegant way – all activities undertaken by the group helped BMW learn by doing and enabled it to be the first mover when new formats eventually became mainstream. This has led to the high ‘social media readiness’ needed to instigate, enhance, or rebut conversations occurring in the echo chamber of BMW’s expansive and influential social graph. The key is that BMW’s short-term social media agility is based on a strong commitment to a long-term vision for its brand.

This very vision would help Vodafone these days, whose “Generation Upload” campaign in Germany has been the subject of much ridicule and scorn from the very Digital Natives it so eagerly (and maybe a little too eagerly) aimed to embrace. The company had obviously studied the social web playbook and thought it was doing all the right things: It created cross-platform social media channels for live-feedback to the campaign’s launch press conference; it put user-generated content at the center of the campaign; and it featured a prominent German blogger as the campaign’s ‘hero.’ However, it made one big mistake: It launched the campaign without backing it up with an actual product offer for the targeted “Generation Upload.” The “medium is the message” approach was simply not enough in this case. Sure, the Gen Y’ers love to converse – but they also appreciate products and rates that meet their needs. Besides that, “Generation Upload” is an unfortunate term that describes user behavior as purely mechanistic when in fact it is not so much characterized by the function of uploading but the desire to share.

And yet: “If you can’t get fired for your marketing campaign, it is not innovative,” marketing author Seth Godin once pointedly said. I’m not sure if any heads were rolling at Vodafone, hopefully not. The company deserves credit for taking a risk and jumping right into the social web without a safety net. Ultimately, I believe, this strategy will be rewarded by the marketplace. Already, the campaign – notwithstanding all the negative comments – created a lot of buzz. And as they say, there is only one thing worse than negative PR – and that is not being talked about at all. This truism is magnified on the social web. With a long-term commitment and flawless follow-through similar to BMW’s, Vodafone might indeed have made a first step towards transforming its brand.

Marketers, beware! The New Digital Divide is very real – but you may not always know exactly which side you are on.

[Image: Neil McLeod - "Chasm"]

Father’s Day Special: Baby Care and Meaningful Marketing

The $10 billion market for baby and young children’s furnishings (cribs, other case goods, layette, nursery decor, and the like) and accessories (car seats, strollers, baby monitors, diaper bags, etc.) is a lucrative market, and the baby stroller is one of its most competitive sectors. Hundreds of models vie for the attention of parents-to-be, and the level of detailed research, due diligence, and individual preferences may come close to the decision making process by an airline for the purchase of a Boeing 787. There are only few things – at least that’s what the industry makes you believe – that are as personal and intimately important to consumers as a baby stroller. The stroller embodies the commitment, care, and love that a couple chooses to devote to their newborn. It is the most visible representation of good parenthood. And in the US, the baby stroller market combines three quintessential American traits into a mind-boggling mix of over-commercialism: an abundance of choices, an obsession about mobility, driving, and vehicles, and a profoundly whacked out paranoia about deficient baby care. All that turns the stroller into a status symbol, especially after the chic Bugaboo arrived on the scene (thanks to Sex and the City) and became the must-have stroller for every DINK (double income-no kids), oops, with kids now – from Los Angeles to New York.

All the more rewarding then is to see a baby and kids super store that defies this irrational exuberance by taking it even a step further, turning a farce into a comedy. Lullaby Lane in San Bruno, CA is a paradise for stroller shoppers precisely because it doesn’t try to be one. It runs three stores and a warehouse in the suburban town south of San Francisco, and surprisingly, the town isn’t named after the brand yet - as perhaps one of the biggest non-big-box baby gear suppliers in the world. The town of San Bruno is adjacent to the San Francisco International Airport (the noise of planes taking off may disrupt your shopping experience at Lullaby Lane every other minute, but my wife used it as an extra lever to lure me into the shop – “if you get bored, you can watch planes.” I love watching planes almost as much as I hate shopping).

But bored I was not. Lullaby Lane is a one-of-a-kind store, independent, grassroots, not slick and shiny – but having been in business for 57 years and family-run, it is the anti-Babies R Us. Almost like a garage sale with sales reps that are a charming mix of car mechanic, Formula One engineer, and precocious kindergartener. Adhering to an old-fashioned model of super-personal customer service, they master folding and unfolding hundreds of different strollers, and go to great lengths to thoroughly analyze each and every feature of the many brands of strollers that they carry – including a live comparison of the performance of the inflatable wheels of the Bugaboo Frog versus the non-inflatable wheels of the Uppa Baby Vista (the Bugaboo is the clear winner). The best thing about Lullaby Lane, however, is its product reviews on YouTube, enhanced by a delightfully ill-placed soundtrack (AC/DC’s “Hell’s Bells”) and astonishing, unexpected outbreaks of stroller stunts. You have to see them yourself; here's one example:

The videos are smart. They’re rough, low-budget, authentic, fun, and laden with just enough irony so they don’t turn off hardcore parents-to-be but also cater to the more enlightened shoppers who (wrongly) think that they aren’t succumbing to the baby industrial complex. The videos feature men and are designed to appeal to men, highlighting the strollers’ features and the competitive nature of their performance. You feel like they’re selling you a sports car. Once you’re in the store, however, the sales reps pay closer attention to the mothers-to-be, knowing they will ultimately make the purchasing decision. Even though I was the one asking more questions, our sales rep would always face my wife when answering them. When we left the store, we had bought two strollers (I learned that you need one for home and a lighter one for travel), and we swore we’d come back. There’s always more you need for your baby. Yes, we care. And then we watched planes.

By the way, you may think the Lullaby Lane videos are edgy, but they pale in comparison to the guerrilla marketing campaign conducted by UNICEF in Finland. Wanting to raise awareness for children rights, the “Be a Mom for a Moment” campaign placed fake blue strollers with a crying baby audio track in crowded places in 14 cities. If people looked in the strollers, they would find a note with the message: “Thank you for caring, we hope there are more people like you. UNICEF – Be a mom for a moment.” Apparently, the media and public reaction was overwhelming, with coverage in all the major TV, radio and web news. The estimated media reach was more than 80% of Finnish population after two days.

Lullaby Lane and UNICEF’s campaign share a commitment to meaningful marketing. They successfully connect with their audiences by applying what I call the "five principles of meaningful marketing (pdf):” be social, be personal, be dramatic, be disruptive, and be responsible. Lullaby Lane embraces the idea of generosity (“give more than you take”) and originality (the videos) to create long-term customer loyalty, and UNICEF’s campaign was a perfectly choreographed moment of “disruptive realism.” Both create meaning – events and experiences that you can relate to other events and experiences and that are at the same time so scarce and unexpected that they’re worth sharing.

Happy Father's Day!

(photo credit: UNICEF)

Designing Democracy: Videos to Support the U.S. National Design Policy Initiative

In December 2008, in light of the current economic crisis, several U.S. professional design organizations (AIGA, IDSA, and others), design education accreditation organizations, and Federal Government officials seized the historic opportunity and joined forces to launch an initiative to shape a U.S. National Design Policy.

Recently, the group launched a nationwide viral video campaign asking supporters to record a brief "I Pledge" endorsement to be uploaded to the initiative's YouTube page or Facebook page. This forum empowered citizens to express how design can bolster the country’s economic future and have a consistent presence in government policy.

To show their support for the initiative, designers and representatives from design firms were captured on screen, advocating for the potential national policy. Some endorsements morphed into manifestos, calling for the creation of a policy that would radically restructure the U.S. educational system, healthcare services, and energy methods by embedding design into the government's DNA.

Here's my endorsement:

 

The Power of the Crowd, Revisited

Almost three years after Jeff Howe coined the term in his seminal article "The Rise of Crowdsourcing," and, ironically, in the very week 1,300 handpicked scientists, entrepreneurs, artists, and other thinkers, movers, and shakers assembled at the TED conference in Long Beach, the term "crowdsourcing" yielded more than one million search results on Google.

That's quite an accomplishment. Crowdsourcing is no longer an exclusive noun for a few in the know, it has become a verb for the crowd. Mom-and pop shops, SME's, and large corporations, receptionists, interns, middle managers, and CEOs – everyone's crowdsourcing these days and calling it so (even if they just ask a few friends to particpate in a mini-survey...).

Here's a little piece of nostalgia, THE crowdsourcing primer starring Jeff Howe:

Interestingly, the power of the crowd has not translated yet into the one realm whose decisions have arguably the biggest power to impact the crowd: politics. Since Obama's masterful use of social media helped restore trust in the American ideal of democracy, and his emphatic election fomented expectations of all-inclusive "power-to-the-people" digital governance, most of the attempts to establish an effective crowdsourced model of policy-making have fallen flat, at least so far. While the new US president has issued several executive orders introducing a new level of transparency to governance (on this topic, for a divergent opinion, it is worth reading Noah Feldman's "In Defense of Secrecy" essay in the NY Times Magazine), the mechanisms of collaborative political decision-making have yet to find a proper forum on the social web.

Sure, there are dozens of open forums that aggregate input and funnel it to the decision-makers – from Public Agenda to the rather light-hearted advertising riff "Dear Mr. President" (Pepsi). And on change.gov, there were Obama's invitation during the transition to submit input for his political agenda ("share your vision") as well as Tom Daschle's video responses to people's suggestions on healthcare ("citizen briefing book"). Perhaps the most ambitious project so far, however, was MySpace and Change.org's "Ideas for America" initiative. The site yielded 7,875 ideas by way of crowdsourcing and then distilled them down (through 675,943 votes) to ten ideas presented to the administration. Yet even though a blog is tracking the progress, it is somewhat unclear if and when the top ten ideas are actually becoming action items incorporated into national policy.

What's lacking is transparency when it matters. If all the crowdsourced ideas remain in a sand box without visible, actionable outcome, the enthusiasm to engage in politics (that was so salient during the presidential campaign) will slowly fade. Yet the missing link between input and outcome is not an easy task given the many legal and bureaucratic restrictions the administration is facing. For the time being, it is the experts who govern. The crowd will have to wait before its ideas will make a real difference in setting the national agenda.

Obama Inc. – Web Activism for Profit

[Photo by David Reece]

A few months after Barack Obama’s historic election, and a couple of weeks after the release of Barry Libert’s and Rick Faulk’s book Obama Inc. (and, of course, Obama's inauguration), the first start-ups are popping up that directly apply some of the widely heralded business lessons emerging from the innovative campaign. The fact that most of these lessons lie in the marketing domain supports the view I’ve expressed earlier and on numerous occasions: 1) Marketing will (again) become the number one change agent in business, 2) when it follows the new rules of “marketing with meaning,” that is, marketing which (simply put) consistently creates added social value – not as an afterthought but a sine qua non. While marketing has always been the art of turning friends into customers and customers into friends, it is now the art of finding, befriending, and “activating” the like-minded for a common cause, for the common good, for profit. Marketing, as the “voice” of business, is THE interface in a time when interface is everything. Marketing is the software. And software drives the value of products.

A recent example of this kind of Obama Inc. start-up, San Francisco-based firm Virgance, was featured in the Economist this week, and the article indicates that social impact in an activism 2.0 world is shifting from a welcome side benefit to an integral component in the business models of Internet entrepreneurs. The new kids on the web have internalized the lessons from the Obama campaign, and now they want to make a difference, too – and money. The Economist describes Virgance’s model as “for-profit-activism.” Named after a plot device in Star Wars, the company aims to support social causes through a multi-pronged campaign platform that resembles the way Obama for America mobilized its supporters, and it typically consists of four core elements: a web-empowered volunteer network, a presence on Facebook, a team of paid bloggers to promote the campaigns, and YouTube viral videos. Among the first Virgance-supported campaigns are 1BOG (“one block off the grid” – aiming to convince homeowners to switch to solar energy), Carrotmobs (public contests that incentivize retailers to become green), and Lend Me Some Sugar (based on the Facebook application that gives users virtual sugar cubes for donations to a cause of their choice).

Virgance is not the first for-profit-do-gooder of course; there have been plenty of others whose business model combines bottom line thinking with social value: the Economist, for example, puts Virgance in a line with Project RED. But Virgance is more like Facebook Causes. It adopts the forces of “Here Comes Everybody” and builds its entire business on a social web platform, embracing the principles of open-source, mass collaboration, and transparency: “If a for-profit company did the type of work that non-profits often do, but did it more efficiently, would people trust it the same way they trust non-profits?” the Virgance web site describes the company’s ambitious mission. ”What if everything the company did was completely transparent? What if it was open source? If we can create this kind of company, and succeed, how many other companies would follow our example? Along the way, could we change the face of the business world itself?”

Does that language sound familiar? The Obamapreneurs are adept at turning their campaigns into movements. Clearly, the Obamanization of business – both in terms of substance and style – has arrived in reality, and we will see more Obama Inc.’s in 2009.

On February 27-28, IESE Business School will gather entrepreneurs, scientists, foundations, and corporations at its annual student-run Doing Good and Doing Well conference in Barcelona. It’ll be interesting to see how the Obama gem will make its way into the more old-school world of CSR (corporate social responsibility).

Marketing with Meaning: Starbucks' "I'm In" Campaign

In my recent blog post about the "Chief Meaning Officer" I suggested that "Only brands that give more than they take will be able to create sustained brand loyalty." Starbucks' "I'm In" campaign is a great example of a brand living up to this new concept: On the day after President Obama's inauguration, the coffee chain will be launching a major marketing initiative that encourages latte lovers to visit soup kitchens or otherwise commit to giving back. Between January 21 and 25, Starbucks customers who promise to do five hours of community service during 2009 will get a pledge card and a free cup of coffee at their local Starbucks store.

Starbucks' campaign is supported by Hands On Network, the nation's largest volunteer organization, and tied into the national call to service by incoming President Obama: "Everyone has heard loud and clear that this is a time to act, and what Starbucks is doing is breaking down the barriers of how to connect with your local community," says Starbucks spokeswoman Lisa Passe.

The campaign provides a blueprint for marketing with meaning and presents the quintessential win-win-win situation: The embattled coffee chain will reinvigorate its grassroots image and underscore its ties to the local community; consumers are recognized in their desire to do something meaningful and are provided with an effective and user-friendly platform to take immediate action; and – last but not least – the brand-facilitated volunteering benefits the common good.

The design of the "I'm In" campaign exhibits the key characteristics of marketing with meaning (see the work in progress chart below):

SOCIAL: The campaign helps the community but also builds one itself – offline and online (Facebook, etc.). Through their pledges consumers can connect with like-minded people, make new friends, and take collective action. This provides them with a sense of belonging and identity, social recognition and impact: "Let's get to work together!"

PERSONAL: Like Obama's fundraising campaign, Starbucks relies on micro-contributions (of time, in this case) that are feasible and fully customizable for the volunteers. To reach its goal of a combined one million pledged hours of community service, the coffee chain plans to sell the five-hour commitment as something anyone can do with just 25 minutes every month. The Pledge5 website gives consumers a list of convenient volunteer opportunities, and the consumers determine individually how exactly they want to be "in."

STORYTELLING: The campaign is cleverly timed with the inauguration week, as well as the Martin Luther King Jr. holiday which the president-elect suggested be celebrated through acts of service, and it hijacks some of the attention that is directed towards the big event on Tuesday. Participants become part of a greater narrative that echoes the memorable lines of JFK's inauguration speech: "Ask not what your country can do for you – ask what you can do for your country." "I'm In" weaves together a historic moment in the face of a national crisis of historical proportions, the consumer "power of one," grassroots activism, and the resurrection of a once proud American brand. That the campaign not only helps America but also Starbucks, is ok and "makes sense" in the context of the campaign narrative. The story transcends the brand.

DISRUPTIVE: The campaign challenges conventional advertising and will be a surprise for many consumers – something different and new that is immediately relevant for them. In addition, the campaign's signage disrupts the typical Starbucks store experience, and customers may even feel some peer pressure at the point-of-sale (especially when they come in groups) to commit to the program.

RESPONSIBLE: The campaign leverages both the Starbucks brand and the inauguration event to attract maximum attention to a cause on the national stage. Honoring its customers' desire to do good, Starbucks has implemented a powerful platform that offers personal recognition, a sense of community, and appropriate tools to prompt action, converting even those into community volunteers who would maybe not pledge their commitment without the push of a branded contest at the point-of-sale. Starbucks acts as the catalyst, and the campaign creates societal value far beyond business.

What marketers can learn from the Starbucks campaign: With production capabilities and financial assets off-shored and out-sourced, brands are ever more important as the only remaining indispensable value of a company. Brands are assets in the public domain; brands are social funds. The creation of brand equity is a cooperative act based on the values that you share with your customers.