9780814415726

Through persuasive arguments and with the major players in advertising, Mathieson makes an excellent case for greater creativity and outside-the-box thinking backed up with solid ideas. Publishers Weekly"Well-written, and extremely interesting....Truly a banquet of new, fresh ideas, Mathieson's book deserves a spot on every marketer's bookshelf." Inland Empire Business JournalCall it the digital generation. The iPhone-toting, Facebookhopping, Twitter-tapping, I-want-what-I-want, how-I-wantit generation. By whatever name, marketers are discovering that connecting with today's elusive, ad-resistant consumer means saying goodbye to "new media," and hello "now media." Featuring exclusive insights and inspiration from today's top marketers-as well as lessons from some of the world's most successful digital marketing initiatives-this eye-opening book reveals how readers can deliver the kind of blockbuster experiences that 21st century consumers demand. Spanning social networking, augmented reality, advergames, virtual worlds, digital outdoor mobile marketing, and more, this book presents an inside look at digital strategies being deployed by brands like Coca-Cola, Burger King, BMW, Axe Deodorant, NBC Universal, Doritos, and many others. Revealing ten essential secrets for capitalizing on the right mix of digital channels and experiences for any brand, this book reveals how to demand attentionObefore the audience hits the snooze button.

RICK MATHIESON (San Francisco, Calif.) is a leading voice on marketing in the digital age. Harvard Business School’s Working Knowledge calls him “a strategic marketing expert.” His insights have been featured in ADWEEK, Advertising Age, Wired, Broadcasting & Cable and on MSNBC, CBS Radio and NPR. A regularly featured speaker at industry events, Mathieson also serves as vice president and creative director for Creative i Advertising & Interactive Media, and is the author of Branding Unbound.

Introduction	p. ix
Insight Comes Before Inspiration	p. 1
Q&A: The Klauberg Manifesto	p. 21
Don't Repurpose, Reimagine	p. 31
Q&A: Alex Bogusky Tells All	p. 51
Don't Just Join the Conversation-Spark It	p. 59
Q&A: Virtually Amazing: Sibley Verbeck on Building Brands in Second Life 2.0	p. 81
There's No Business Without Show Business	p. 89
Q&A: Adrian Si: Rewriting the Rules of Branded Entertainment	p. 107
Want Control? Give It Away	p. 113
Q&A: "Obama Girl" Makes Good: Ben Relles's Racy Videos and the Democratization of Digital Media	p. 127
It's Good to Play Games with Your Customers	p. 135
Q&A: Mike Benson and the ABCs of Advergames	p. 151
Products Are the New Services	p. 157
Q&A: Agent Provocateur: Goodby's Derek Robson on Reinventing the Ad Agency	p. 169
Mobile is Where It's At	p. 179
Q&A: BMW and Beyond: "Activating" Traditional Media through the Power of Mobile	p. 199
Always Keep Surprises In-Store	p. 207
Q&A: The Future of the In-Store Experience, from the Father of Social Retailing“	p. 221
Use Smart Ads Wisely	p. 231
Q&A: The Social Net-Privacy 2.0	p. 251
Additional Resources	p. 261
Notes	p. 263
Acknowledgments	p. 273
Index	p. 275
About the Author	p. 281
Table of Contents provided by Ingram. All Rights Reserved.

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<html><head></head><body>INTRODUCTION You can always blame it on Burger King. It was, after all, nearly three decades ago that the “Home of the Whopper” first introduced a simple, seemingly innocuous notion into popular culture that would have profound and unexpected repercussions well into the twenty-first century. As those around in the 1970s can tell you, consumers everywhere were told that, yes, they could “hold the pickles,” or “hold the lettuce.” With a song and a smile, TV commercials featuring dancing cashiers reassured a previously unrecognized nation of anxious fast foodies that “Special orders don’t upset us. All we ask is that you let us serve it your way. Have it your way—at Burger King.” Have it your way. A simple, refreshing, underheralded introduction to “mass customization,” the technological capability to personalize any order, on demand. Fast-forward to the present day, and you can see the workings of what has irresistibly and incontrovertibly become an on-demand economy. The medium that introduced us to that old-time fast food campaign couldn’t be more different. Where once there were three broadcast television networks, there are now literally hundreds of TV channels, seemingly niche-programmed down to subsets of subsets of consumer tastes. History buffs, homosexuals, gardeners, and gearheads all have their own TV networks. Programming is no longer a one-time-period-fitsall affair. Indeed, it is no longer a one-device-fits-all affair, either. In what the television industry often refers to as 360-degree programming— the practice of making content available for consumption via any number of consumer devices—you can watch the latest episode of NBC-TV’s The Office or MTV’s The City either live or time-shifted on your TV screen, your computer screen, the screen of your mobile phone, your car’s built-in entertainment center, or the monitor on the airline seatback. On your schedule. At your convenience. Always. What’s more, this content is no longer bound to what you view and hear, but how you interact with it, mold it, make it your own. Today, you can take part in extended realities of your favorite shows—online games and experiences that expand upon the program’s plotlines and characters so you can delve into backstories or divine the next major plot twist. You can react to, or spoof, what you see on the Boob Tube via YouTube—creating and uploading your own video satires in record time. You can comment on or even shape storylines by lobbying online among the show’s community of interest—those who are passionately involved with the show and even those who produce or distribute it— via forums, blogs, and more. You can even live within your favorite TV programs, through 3-D virtual worlds where you can hang out with characters and fans in environments replicated from the shows. This media revolution has not occurred in a vacuum, of course. It has been enabled by technological advances that have come to define every facet of modern life. Back in the antediluvian days of Burger King’s “Have It YourWay” campaign, consumers who knew their bank tellers on a first-name basis looked on skeptically at the rollout of ominous, monolithic machines known as ATMs. Today, these same consumers routinely and cavalierly check balances, make purchases, and place trades from home via their laptop computers or while on the go, via their iPhones and BlackBerrys. The trip to the bookstore is often usurped by a quick click to Amazon.com. Business trips and vacations are arranged in moments, with nary a thought of calling one’s travel agent (remember those?). And high-ticket items, from automobiles to real estate, are regularly searched, categorized, compared, and even purchased on the fly. In just about every corner of society, “just a moment” isn’t good enough anymore. Waiting for anything—cash, food, our favorite products and experience, dished up just the way we like them—simply will not stand. Clearly, this revolution is having a seismic impact on every facet of how we work, learn, and play. But in an age of immediate, malleable, and very social real-time media, its most profound effects are on those seemingly least prepared for this changing world: marketers. GOODBYE “NEW MEDIA,” HELLO “NOW MEDIA” Indeed, a generation of consumers weaned on Facebook, iPhones, TiVo, Twitter, chat rooms, and instant messaging has grown accustomed to living seamlessly and simultaneously on- and offline, accessing the people, content, services, and experiences they want—when, where, and how they want them—using whatever devices they have at hand. In short, “now” is the new “new.” I’ve long referred to this phenomenon as “the Burger King Syndrome,” the notion that in an increasingly fragmented, tech-driven media universe, the only rule that matters is as simple and powerful as those television commercials of yore: Have it your way—or no way at all. Over the last few years, what was once a world of quaintly interactive Flash- and HTML-based “new media” web experiences has morphed into a digital universe that’s highly personalizable, uniquely sharable, and eminently social—characterized by new applications and services that are driven by the so-called “Web 2.0” effect. Now, the web is no longer merely about content retrieval. It’s about realtime content creation, participation, collaboration, and exhibition. Amazon shoppers long ago moved from just buying books and videos to dissecting them—arguing their merits and debating their value with others—threatening to unseat professional movie, television, and music critics along the way. Likewise, those trips to iTunes are not complete without reading shopper reviews of everything from The First Avenger: Captain America to the latest album from Coldplay. This “social web” is growing fast. According to the Pew Internet & American Life Project, 35 percent of the adult Internet population in the United States actively uses social networking sites. Once logged on, updates to their personal “profile pages” are instantly broadcast to their far-flung family and friends’ computers and mobile phones. Most are updates of the most banal variety—“I just had a burrito and I’m thinking about taking a nap”—or involve updates and results from a myriad of supremely irritating quizzes and games, from “What Does Jesus Think of You” to “FarmVille.” At this writing, over 1 billion people participate in social networking worldwide, with a growth rate of about 25 percent per year, according to comScore. The growth rate in Europe is 35 percent; in the Middle East, it’s 66 percent. And then there’s microblogging. Nearly 8 million people regularly use applications like Twitter, with which they send and receive “tweets,” very short updates for “followers” about what the “twitterer” is doing at any given moment—homework, coming home from a date, or picking their noses—in 140 characters or less. Never mind that 60 percent of people stop using Twitter within a month of signing up, at this writing anyway, it’s a hyperbolic wonder. For whatever reason, television news and talk show personalities seem especially enamored with sending an endless stream of updates to feed the cult of personality—a notion that went into overdrive when Oprah Winfrey began twittering, and when actor Ashton Kutcher became the first person to top 1 million Twitter followers, or “tweeps.” The content of these celebri-tweets tend to range from the solipsistic to the soporific. A missive from David Gregory, host of NBC’s Meet the Press, for instance, might share with followers that he just finished rehearsing this week’s show, and that he’s thinking about having a bagel before airtime. A typical tweet from Oprah: “Worked out an hour. And now going to read the Sunday papers and have a skinny cow or 2!” None of this is to say Twitter hasn’t become an important tool for journalists, editors, writers, and others in the media industry who use it to stay on top of, or follow, news as it breaks—as evidenced by developments many first heard about via Twitter—from the death of pop star Michael Jackson to unrest over disputed presidential elections in Iran to the earthquake in Haiti. Which brings us to that original form of microblogging—text messaging— which everyone from political activists to party-going teenagers to celebrity stalkers uses to organize collective actions ranging from staging protests to throwing raves. Today, over 100 million Americans send and receive text messages on any given day—including 65 percent of all mobile subscribers under the age of thirty. Indeed, if tweeting is the purview of celebrities, texting is the lingua franca of teen lifestyles. According to research firm comScore, just 11 percent of Twitter’s users are between the ages of twelve and seventeen. By contrast, over 83 percent of teens use text messaging. In the mobile space, this on-demand connectivity is taking new forms every day. Looking for instant access to new recipes? The latest sports scores? A digital musical instrument you can play with others around the world in real time? How about the bestMexican restaurant within a three-block radius, at least according to some 142 patrons who’ve recently eaten there? Today, it’s safe to say that, yes, there’s a mobile app for that. And all of this is just for starters. Thanks to an explosion of broadband accessibility in recent years, nearly 62 percent of all Internet users in the United States—some 184 million people—consume the kind of free or ad-supported online video to be found at Blip.tv, YouTube, or Hulu, or subscriptionbased services like Time-Warner Cable’s TV Everywhere service. According to Pew, nearly 57 percent8 of these viewers routinely send links to videos they’ve watched to others, creating a network multiplier effect that frequently produces viral hits. Just ask Susan Boyle, who rocketed to international fame after her spinster-turned-superstar appearance on Britain’s Got Talent. Within nine days her performance of “I Dreamed A Dream” was viewed over 100 million times online. Of course, some like to do more than just watch. According to Pew, nearly 15 percent of online consumers actually post their own “user-generated” videos to sites like YouTube, where they can be instantly shared with the 79 million people who have so far viewed some 3 billion videos there. Meanwhile, nearly 4 million online Americans9 regularly log onto virtual worlds like PlayStation Home, Second Life, There, and Vivaty. Once there, they select and customize “avatars”—cartoon representations of themselves—and proceed to make friends, buy real estate, open businesses, join clubs, attend art exhibitions, go swimming, or even fly—at whim or with the help of a handy jetpack—while jacked into virtual versions of their real-world selves from anywhere on Earth. Today, these worlds increasingly work in reverse—in adventure games like JOYity, in which users run around real-world cities, from London to Helsinki to San Francisco, with an “augmented reality” game overlaying the physical world, and visible only by viewing the cityscape through a smart phone’s camera screen. Factor the $4.8 billion we spend on online games, from World of Warcraft to Tap-Tap Revenge,10 the $11 billion a year we spend on console games like Guitar Hero, and the endless hours we spend on multiplayer casual games like Lexulous, and it’s clear that instant, social gratification is here to stay. In short, something cool, and truly profound, is happening in the ondemand economy. But for Madison Avenue, keeping up is hard to do. </body></html>

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