Some things are just universal. In the case of teenagers, for example, it's pretty much expected they'll spout off incendiary things at their peers, parents and anyone else unfortunate enough to stand within a 50-foot radius.
This is the fourth big economic downturn I've experienced in my career. The S&L crisis, the 1987 stock market crash, the 2000 dot-com bust and today's lingering subprime crisis all offer hard lessons on how to do more than just cope - instead, how to creatively shift thinking to meet the economic challenges.
I came across this quote the other day: "The trick is in what one emphasizes. We either make ourselves miserable, or we make ourselves happy. The amount of work is the same." As marketers, our job is to make projections about the future and the role of advertising. So this quote hit home for me while working on a study, code name "Project Tiffany," designed to explore the future of online video by comparing traditional TV viewing to that of broadband video online.
I spend my days speaking with lots of advertisers. Some have fully embraced online advertising; others are just dipping their toes in the water. If you spend too much time with the former, you forget that the latter group is actually a lot bigger. The Web is a scary place for newcomers. Managing your first online campaign is like a having a baby: It's well-worth the effort, but far harder than you imagine. Plus, there's lots of crying. That's why you should know what to expect when you're expecting to go online.
We're working too hard. And by "we" I don't mean my colleagues and me at the Brooklyn Brothers, I mean the collective we. The people of America. We're working too hard. This strikes me as I sit on a JetBlue flight from LA to New York after a night of focus groups, balancing my Mac on the rather shaky seat-back table in order to meet a deadline I've already had to extend once.
This month's issue focuses on the role of color in media. If it's okay with you, I'd like to confine this column to just one - the color green. Let's face it, it's the color that's been on all our minds as we put this magazine to bed, though the color red also seems to be lurking in the background - not to mention hopes for the resurgence of a shade of black. Mixed metaphors aside, I'm talking money here - and/or the lack thereof. How could I not?
Why is black always cool? No matter what year it is, no matter what part of the country you live in, no matter what kind of people you hang around with, you'll always fit in wearing black. It's not just that black is classic - that it's the color of tuxedos, limousines, business suits, grand pianos and go-anywhere dresses. It's also the color of beatniks, biker gangs, punk rockers and Goths. It's the uniform of "The Man," and the T-shirt of the rebel. More paradoxically still, this has held true for several generations of rebellion.
Do you feel weak? Maybe that's because you had a Rice Krispie treat for lunch. Or maybe you're undergoing the physiological effects of pink. We don't mean to suggest that you are suffering from an eye infection, listening to "Get the Party Started," or that you're wearing a pair of sweatpants with PINK emblazoned on the rear. While you may very well be doing all of those things right now, we were hoping that the color of these pages would make you feel like a 12-year-old girl in an interrogation room.
"I think everyone should wear more orange," my friend said, decisively, and I looked at her again, a woman with dark hair and fair skin and freckles and a slight flush on her cheeks, and I saw that she looked amazing in orange - as pretty as Kelly Kapowski on the '90s sitcom Saved By The Bell, everyone's favorite girl, sweet and glowing in a tight orange minidress, innocent in a low-cut orange unitard with a white jacket over her shoulders - orange just lit her up, my friend, I mean, though Kelly Kapowski looked pretty awesome, too.
Early this year, Danish sculptor Jens Galschiot and his art workshop, Art in Defense of Humanism, decided to make a statement at the Olympics in Beijing against China's human rights violations. Since overt activism was essentially banned, Galschiot, ever the artist, turned to color as a covert protest. He and his followers encouraged everyone - athletes, spectators and organizers - to wear or carry something orange in a country that revered red. The Color Orange Project garnered modest support at the Games, including from runner Usain Bolt, who wore an orange bracelet during his legendary 100-meter sprint. But sadly for ...