Converse v. Banana Republic Outline

For my paper, I plan to explore the role that music has played in advertising campaigns, specifically in the most recent efforts of Converse and Banana Republic. By comparing the execution of the campaigns, as well as the artists involved in each, I hope to gain insight on what kind of experience each brand was trying to create for their customers. I will also try to gauge the effectiveness of the two campaigns based on what was done and how compatible these actions were with the brand's image.

Note: I had some problems with formatting, so something is off with the font size and the outlined numbering system.

1. Music in Advertising (1-2 pages)
   
   1. Role of music
      
   2. Differences in high-involvement and low-involvement products
      
   3. Classical conditioning paradigm
      
      1. Gorn's experiment
         
      2. Other conclusions
         
   4. The ELM (Petty and Cacioppo)
      
      1. Changing and creating attitudes
         
         1. Central route
            
         2. Peripheral route
            
      2. Support from other studies
         
   5. Idea of musical fit (MacInnis and Park)
      
   6. Author's study on the effect of different but congruent musical styles
      
2. Celebrity Endorsements (1-2pages)
   
   1. Definition of "celebrity"
      
   2. Reasons celebrities are used for endorsements
      
   3. When they are most effective (products with high social risk)
      
   4. Processes of social influence
      
      1. Compliance
         
      2. Identification
         
      3. internalization
         
3. Converse (3-4 pages)
   
   1. Company background
      
      1. Wholly owned subsidiary of Nike, Inc. (My)
         
      2. Established in 1908
         
      3. Brief mention of financial data
         
      4. Converse as "heritage brand"
         
      5. Overview of product lines
         
      6. "Role in disrupting the status quo over the last 100 years" ("Advertising")
         
      7. Past cultural icons used
         
   2. "Connectivity" Campaign
      
      1. "My Drive Thru"
         
         1. Song downloads
            
         2. Music video
            
      2. Overall purpose
         
         1. Quotes from CMO
            
         2. "catalyst for creativity"
            
      3. Target market
         
      4. Agencies used
         
         1. Cornerstone
            
         2. Anomaly
            
      5. Paper doll graphics
         
      6. Artists in campaign
         
      7. Media outlets
         
         1. Television
            
         2. Outdoor/Transit
            
         3. Digital/Web
            
         4. Cinema
            
         5. Print
            
      8. Sense Experiential Modules
         
         1. Sensory
            
         2. Emotional
            
         3. Intellectual/Cognitive
            
         4. Physical/Behavioral
            
         5. Relational
            
      9. Benefit to musicians involved
         
      10. Reactions from music blogs (positive and negative)
          
          1. Stereogum.com
             
          2. Pitchfork.com
             
          3. PostAdvertising.com
             
      11. Survey results
          
          1. Demographics
             
          2. Familiarity with artists involved
             
          3. Perception of Converse brand
             
          4. Shortcomings of survey
             
4. Banana Republic (3-4 pages)
   
   1. Company Background
      
      1. Gap Inc.
         
         1. Founded in 1969 in San Francisco, CA
            
         2. Historical milestones
            
         3. Financial data
            
         4. Acquired Banana Republic in 1983
            
      2. Banana Republic
         
         1. Started as two-store safari and travel clothing company
            
         2. Accessible luzury brand
            
         3. "elevated design," "luxurious fabrications," "uncomplicated style"
            
   2. "City Stories" Campaign
      
      1. Overall purpose
         
         1. Tradition of city style
            
         2. Quote from CMO
            
      2. Focus on New York City and Brookyn
         
      3. Target market
         
         1. "the modern soul"
            
         2. Shoppers between 25 and 49 who "aspire to a city lifestyle"
            
      4. Agencies used
         
         1. AR
            
         2. Starworks: artist casting support
            
         3. Rock River Music: music aggregation and marketing
            
      5. Artists in campaign
         
      6. Media outlets
         
         1. Print
            
         2. Outdoor
            
         3. Online
            
         4. Direct Mail
            
         5. In-Store
            
         6. Virgin America's RED: first-ever branded channel for in-flight entertainment system
            
      7. Sense Experiential Modules
         
         1. Sensory
            
         2. Emotional
            
         3. Intellectual/Cognitive
            
         4. Physical/Behavioral
            
         5. Relational
            
      8. Reactions from music blogs (positive and negative)
         
         1. Stereogum
            
         2. Pitchfork
            
      9. Survey Results
         
         1. Demographics
            
         2. Familiarity with artists involved
            
         3. Perception of Converse brand
            
         4. Shortcomings of survey
            
5. Converse v. Banana Republic (2-3 pages)
   
   1. Successes
      
   2. Failures
      

Concerns:

• I will be deploying a survey after this outline is approved, so I will need someone to proof the survey. Also, like with all other surveys, the number of respondents is a concern. In addition, I do not know very many individuals that fall in Banana Republic's target demographic (ages 25-49), so my results may favor the Converse campaign, since more of my peer group falls into that target market and will probably be more familiar with those artists.
  
• Another concern I have with the survey is whether or not I need to form hypotheses before beginning. Should I wait to discuss the survey until after I summarize the two campaigns?
  
• I need to find another academic article about celebrity endorsements. The one I currently have may be outdated.
  
• I originally had the idea to incorporate some other campaigns into my paper, but after doing this outline, I feel like I have enough information to fill the required 10-15 pages. If not, I will use Adidas' current "House Party" campaign as a third example.
  

Sources:

"Advertising Campaigns: Converse 'My Drive Thru.'" UTalkMarketing. 7 April 2009 <http:// utalkmarketing.com/Pages/CreativeShowcase.aspx?ArticleID=11101&Filter=0&Keywords=&Order=LATEST&Page=1&Title=Converse_%E2%80%98My_Drive_Thru%E2%80%99>

"Banana Republic Celebrates Spring with Music-Inspired 'City Stories' Campaign." Press Release. Gap Inc. Jan. 2009. 4 April 2009 <http://www.gapinc.com/public/Media/Press_Releases/ med_pr_BRSpringAd012309.shtml>

"Company Fact Sheet." Gap Inc. 12 April 2009 <http://www.gapinc.com/public/About/abt_fact_ sheet.shtml>

"Converse Launches New Advertising Campaign Built Around the Hit Summer Track 'My Drive Thru.'" Press Release. Reuters 15 July 2008. 7 April 2009 <http://www.reuters.com/article/pressRelease /idUS116362+15-Jul-2008+BW20080715>

"Drivin' Thru Summer in My Chucks." Post Advertising. 11 July 2008. 7 April 2009 <http://www. postadvertising.com/post/2008/07/11/Drivin-Thru-Summer-in-My-Chucks.aspx>

Kamins, Michael A., Meribeth J. Brand, Stuart A. Hoeke, and John C. Moe. "Two-Sided Versus One-Sided Celebrity Endorsements: The Impact on Advertising Effectiveness and Credibility." Journal of Advertising 18.2 (1989): 4-10.

"Milestones." Gap Inc. 12 April 2009 <http://www.gapinc.com/public/About/abt_milestones.shtml>

"Our Brands- Banana Republic." Gap Inc. 9 April 2009 <http://www.gapinc.com/public/OurBrands/ brands.shtml>

Ben-Yehuda, Ayala. "Banana Republic to Kick Off Artist Ad Campaign." Billboard. 10 Feb. 2009. 9 April 2009 <http://billboard.biz/bbbiz/content_display/industry/e3i73b3660e2c6025e6cdb460b9fd283859? imw=Y>

My Drive Thru- Converse. 9 June 2008. 7 April 2009 <http://mnr.onthescene.com/converse/ mydrivethru.html>

Parpis, Eleftheria. "Converse Turns Up the Noise." Adweek. 14 July 2008. 7 April 2009 <http:// www.adweek.com/aw/content_display/news/agency/e3i5dab627a6e5e9f67f6c2ff46aaef1efe>

Polikarpov, Yana. "Banana Republic Tells 'City Stories.'" Adweek. 10 Feb. 2009 9 April 2009 <http:// www.adweek.com/aw/content_display/creative/new-campaigns/e3id86b3c6480b9377f51f2c980 c9a50817>

Zander, Mark F. ""Musical influences in advertising: how music modifies first impressions of product endorsers and brands." Psychology of Music 34 (2006): 465-480)

Nike Takes on March Madness

Like every other year, March Madness has taken over America. Right now, we are caught in the heat of “The Big Dance, coming off of the first two rounds of play and headed straight into the Sweet Sixteen tonight. By the end of next weekend, the field of sixty-five Division I college basketball teams will be narrowed down to two, and on the following Monday, a new team will replace the Kansas Jayhawks as the NCAA Champions, cutting down the nets in Detroit to the tune of “One Shining Moment.”

From a marketing standpoint, there are so many fascinating things about this annual tournament and the “madness” that comes with it. In my opinion, March Madness is one of the most powerfully unifying sports forces that America has ever seen, behind the Super Bowl of course. People who don’t even care about sports fill out brackets. CBS, a major network, devotes its programming during the first two rounds of the tournament entirely to game coverage; if a games goes long, the local news doesn’t even air! And for goodness sake, “bracketology” is a real word now.

On Wednesday, in class, we discussed the risk Song Airlines took in selling their brand as a spirit. Their commercials did not mention or even show an airplane; Song hoped to portray themselves as an emotion. Our discussion reminded me a series of Air Jordan (a Nike brand) ads that have been airing throughout the NCAA tournament. The first is a scene in which a police officer in Illinois tickets a driver from North Carolina from going 36 in a 35 MPH zone, referencing the 2005 title game in which the Tarheels defeated the Fighting Illini, who came into the game with an unbelievable 37-1 record.



This one shows a family, observably University of Washington fans, unwilling to accept a daughter’s new boyfriend who went to school at UConn. A clip is shown of the 1998 Sweet Sixteen game between the two schools in which Richard Hamilton hit a last second, buzzer beating shot that allowed UConn to advance to the next round.



The next is a father talking about his daughter’s birthday, April 5, 2003, also the night that Carmelo Anthony, who eventually led Syracuse to the national title that year, scored 33 points against Texas in the Final Four. At the time, Texas was the only #1 seed left in the tournament and the favorite to win it all. The Longhorns, led by T.J. Ford, saw their hopes of winning a national championship dashed by the eventual third overall pick of the 2003 NBA Draft.



I absolutely love these commercials. Not only do they show Nike’s knowledge of their customer base and their willingness to connect with them, but they succeed in doing what Song failed to do. These commercials aren’t explicitly advertising Air Jordan shoes. Instead, Nike is selling a certain spirit, an emotion. They are appealing to the customers who have experienced absolute heartbreak during the NCAA tournament. Regardless of how long ago that moment occurred, Nike assures them that it’s okay to still feel that way and almost encourages them to continue harboring those feelings.

What is ironic is that Nike does almost the opposite of Song. The emotions that these advertisements are meant to convey are in no way positive. These moments haunt hardcore basketball fans for years. I remember watching that game when Syracuse beat Texas. Those feelings of disappointment, angst, and even hatred came flooding back as soon as I saw this commercial for the first time. Yet, I thought to myself, “Wow, what a great commercial. What a great concept for Nike to use.”

The only problem with this campaign is the following ad:

Just like the others, right? WRONG! The game being referenced is not one that stands out. In fact, my friend's boyfriend, a Syracuse alum and diehard Orange basketball fan, can't remember this supposed domination by Ray Allen. Maybe this was a game from a Big East Tournament in the mid 90’s, but it definitely cannot be considered as memorable and epic as the games in the other three commercials. The only logical explanation for this “miss” by Air Jordan is the fact that Ray Allen is a member of their brand. Perhaps they felt the need to make him the focal point of one of the commercials.

It’s not that they completely fabricated the game; they didn’t do that. They simply exaggerated the nostalgic effect of a game that occurred almost 15 years ago to make the campaign cohesive. Most people probably wouldn’t even notice, but Syracuse fans definitely would. And a few UConn fans are probably scratching their heads a bit, too.

I think Nike should have really thought about airing this commercial because while most people that see it will think it fits in with the rest, a small percentage of viewers will be turned off. It is airing during the tournament, a time when diehard fans are definitely tuning in.

Now, every time I see an Air Jordan commercial, I won't help but think of the time Nike tried to trick America into believing that Ray Allen's performance against Syracuse was comparable to North Carolina's run to the Championship in 2005. Nice try, Nike.

The Persuaders

Dr. Rapaille believes that consumers are driven by unconscious needs. We seldom understand why we do what we do, leading us to make up something that makes sense when asked about our motivations. He says that the key to the psyche of consumers is a 3 step process of getting past reason, through emotion, to the primal core where all purchase decisions lie.

1. He conducts focus groups, asking them how they feel about a certain word and how that concept is sold to them. At this point, Rapaille doesn’t care what they say, he just wants them to feel intelligent.
2. Rapaille doesn’t want his focus groups to be logical or intelligent. He asks them to tell a story as if they were speaking to an alien child. People don’t understand what they are doing during this stage, and that is exactly what he wants.
3. The focus group is encouraged to go back the first time they experienced what they’re trying to understand. This is where the primal urges can be seen, or as Rapaille calls it, the Reptilian hotbutton. According to him, this reptilian hotbutton, or code, has nothing to do with intellect, and it always wins.

I thought the example Rapaille provided was hilarious. He told a French cheese company that they were going “off code” by advertising their products in a way that did not appeal to Americans. In France, cheese is alive and does not belong in the refridgerator; however, Americans treat cheese very differently and perceived the French cheese as unsafe.

Rapaille’s clients can use the code to improve a product. Competitors can then replicate that product. However, without the knowledge of why the product was created that way, the product does not have the same effect.

Song Airlines’ main goal was to establish a solid brand rather than promoting the benefits of the product they were offering. Of course, they wanted to mention that their airline offered flights at reasonable prices and that the in-flight meals were fresh and organic, but they believed that it was more important to invent a new culture of flying. The president of Song argued that a company can only be the sole provider of a benefit, like an individual TV for every seat, for a finite period of time. On the other hand, the company’s spirit cannot be recreated. Song focused on the heart rather than the head, creating advertisements that did not even mention planes; instead, they invoked emotions and feelings that could be classified as “Song.”

As an idea, I think this campaign was very innovative. Like the video kept mentioning, consumers are becoming more and more immune to advertising. We no longer want facts shoved in our faces about how great a product is; instead, we are drawn to creativity and humor. By selling something intangible, the Song brand, the company is able to convey an attitude that is welcoming and thoughtful. It is absolutely true that marketers must adjust to the changing perceptions of customers. Today, consumers are asking, “What does this product mean?” not “What does this product do?” Brands must go beyond the five senses. The desire to buy must be more deeply rooted than before; consumers want to belong, and brands can create a meaning system for them.

At the same time, though, I do not think this was the right thing for Song to do. As was proven, customers were confused about what the company even was. Was it a travel agency? An airline? A store? The advertisements actually had the opposite effect of what was intended; they took away from the product instead of enhancing it. While the ads were smoothly executed and were generally appealing, it was unclear as to what was being sold. Yes, Song was trying to sell certain emotions, but if those emotions are not connected to the brand explicitly enough, especially with a new brand, the ad is bound to fail.

Airline tickets are a fairly expensive good. I feel like there is a curve to this idea of selling an intangible concept. I think it would work really well with cheap goods, like a snack food or article of clothing because these goods require less disposable income, and consumers are more willing to take “risks.” However, an airline ticket is something that requires more consideration before purchase. For most people, price is the bottom line, and they are willing to sacrifice things like a good meal or in-flight movie for a lower price. Song’s emotion provoking commercial may be well received, but might not translate to actual purchase decisions. But after a certain price point, the emotional appeal can be effective again. Someone doesn’t buy a set of Louis Vuitton luggage because it’s so much better quality than Samsonite; they buy it because it makes them feel a certain way. That’s an assumption, though.

Kenna's Dilemma

The most important thing that I learned from the “Kenna’s Dilemma” chapter was the relevance of context in gaining customer insights. I thought it was very interesting how the results of the taste test did not necessarily provide Coca-Cola with the answer to why they were losing market share, especially because most would assume that taste is the most important aspect of the beverage industry.

When testing a product, it is imperative to consider the environment in which the test is given. In the case of Coca-Cola, they found that consumers preferred Pepsi in a sip test. So when Coca-Cola tweaked their formula to taste more like Pepsi, they were simply responding to the findings of the taste test; in essence, they thought they were giving consumers what they wanted. However, the problem was that customers rely on more than the taste factor when buying soda. According to Gladwell, “we transfer to our sensation of the Coca-Cola taste all of the unconscious associations we have of the brand, the image, the can, and even the mistakable red of the logo.” Coca-Cola assumed their loss in market share had to be attributed to taste, when, in fact, the problem was brand imagery. They should have realized that, while a blind sip test seemed like an unbiased method, it was not the usual context in which Coca-Cola was consumed.

While it may sometimes be difficult or impossible, simulating the environment of use when testing a product is the only way to guarantee the results. Gladwell warns against letting “the guys in the white lab coats take over,” which also had a negative impact in Kenna’s case.

I think this is a dilemma that consumers can potentially face every time they shop. When I try on a pair of shoes, a couple of walks down the length of the aisle are usually not enough to determine the level of comfort and stability the shoes will provide during a long day of walking around campus. Every year around Christmastime, I go to Sephora to pick out a new bottle of perfume. After a few disappointing purchases, I now ask for a sample size of three or four scents and try them out over the next week before buying an entire bottle. Like the Coca-Cola taste test, a perfume that smells great after one spray in the store may not be what I want to smell like every single day.

Another concept I related to was the perception of “new” as “bad.” The Aeron chair was a great example of this phenomenon. Customers initially gave the Aeron bad ratings because it was not aesthetically pleasing. To them, “the word ‘ugly’ was just a proxy for ‘different,’” forgetting that comfort is the driving force behind a great chair, not necessarily its design.

In market tests, the testers were not actually purchasing the chair. I think this had an effect on their perception of the Aeron. If they were really in the market for a durable chair, would its appearance have such a significant impact on their purchase decision? If your goal was to buy the best chair possible, you would choose the one that was least likely to cause back problems, the one that provided the best support and greatest level of comfort.

Clearly, those that rated the Aeron, as well as All in the Family and The Mary Tyler Moore Show, really could not overcome the initial newness factor to really evaluate the product. After the Aeron began to achieve high sales volume, customers’ perception of its aestheticism skyrocketed. Those two TV shows are now remembered as classic programs that continue to have cultural relevance today.

I guess market research is not always a good indicator of what will actually happen when the product hits the market place. I think this is similar to the Halo Effect, where a customer’s “yes” to “would you buy this product?” does not always translate into an actual purchase decision. No matter what precautions a company takes to make sure their results are as “accurate” as possible, there does not seem to be a way to actually perform market research in a way to generate perfect solutions.

Current Topics Report

As the eldest of four siblings, I have always been interested in the effects of birth order. My younger sister and brothers are nineteen, thirteen, and twelve years old, respectively. Despite our shared genetics and virtually identical upbringings, Pamela, Joseph, Samuel, and I all have unique, and often contrasting, interests, personalities, and mental processes. Life at our house was chaotic; my family was late to almost everything, and I rarely ever had time alone, much less peace and quiet. At the same time, though, I feel like my childhood was also overflowing with laughter, love, and joy. And even as a twenty-two year old, my greatest source of happiness is my large family.

While growing up, I was fortunate enough to have two very close guy friends who also came from four children households. Since elementary school, we have been sharing our frustrations, as well as all of our hilarious anecdotes ,with each other, as very few of our peers understood what it was like to grow up with three siblings. When I came to UT, I met another friend, also male, who empathized with me. In the past three years, the four of us have had many discussions concerning the dynamics of our families.

Not surprisingly, we have discovered striking similarities between each of our siblings. The oldest is usually the most conservative and least interesting of the bunch, well-liked for adhering to social norms. The second is the over achiever and parent pleaser, having waited their entire lives to be in the spotlight. The third child is the brooding rebel who prefers solitude, often the “odd man out” of the four. The fourth is the stereotypical baby of the family, a sweet but self-indulging free spirit, craving, and usually earning, parental attention.

I know there have been a myriad of birth order studies done in the past. In October 2007, Time published an article, “The Power of Birth Order,” which cites various findings from around the world that support the important effect of birth order on humans’ perceptions and life circumstances. Jeffrey Kluger, its author, asserts that “firstborns score especially well on the dimension of temperament known as conscientiousness- a sense of general responsibility and follow-through.” They are “generally smarter” and take less risks than their younger siblings. Meanwhile, “later-borns score higher on what’s known as agreeableness, or the simple ability to get along in the world.” They are “looser cannons, less educated and less strapping” but likelier to live more exciting lives. In fact, a psychology professor at Guilford College “revealed the overrepresentation of firstborns in Congress” found that the majority of picketers arrested at labor demonstrations “were later- or last-borns.”

In my Current Topics Report, I would like to explore the effects of birth order on American consumers. I want to see how the perceptions of the oldest, middle, and youngest children have influenced market segmentation, if at all. Obviously, birth order affects the way we think and what we do. So does it then, also, affect how we buy? Do I perceive products differently than my younger sister? Do companies market differently to youngest children than firstborns? What about only children? Also, does birth order affect an individual’s strategic experiential modules? Will we ever be able to unfold the mysteries known as middle children? After all, they are the hardest group to define because of their constantly changing role in the family.

These are all questions I hope to answer as part of the research process for my report. I am aware that birth order is a very subjective topic. While many studies have shown strong evidence of common tendencies in oldest, middle, and youngest children, there are many other factors influencing our lives that simply cannot be ignored.

Culture, race, income class, and religion, among others, play a huge role in our lives. Family background is also important. Single-parent households are sure to be different than two-parent households; as we know, divorce can have a tremendous impact on a child of any age. Family dysfunction, like domestic or substance abuse, causes disruptions of typical birth-order generalizations. Even the number of siblings we grew up with probably has a huge effect on the way we think and buy.

Even though my own experiences are the basis of my curiosity in this particular subject, I will try my best to remain objective. I was raised in a Protestant, Korean American household in College Station, Texas, by two Texas Exes who were married in 1985. I am aware that these factors make my family unique and that every other American family has their own unique qualities as well.

By the end of the semester, I hope to have a more “scientific” understanding of me and my siblings. As a marketing major, I am also interested in how our differences have crafted us into consumers with varying thought processes and behaviors.

The Converse Summer Ad Campaign

This past summer, much like every other Friday, the newest issue of Rolling Stone appeared in my mailbox. Unlike past issues, though, I was captivated by a pull-out, black and white advertisement for Converse on the second page, featuring 18 musicians standing side by side.

Immediately, I spotted Andrew VanWyngarden and Ben Goldwasser, also known as MGMT to music fans. I was excited that Converse had recruited this up and coming Brooklyn band for their new ad campaign. I also recognized about four or five of the other artists, but as a music enthusiast, I was curious about the 14 other artists in the ad. Who were they? Why didn’t I know who they were? And where did a nationally renowned brand get the idea to get them all together in one place? I then spent the next two hours on Google, trying to find the details of the ad campaign.

Through a press release, I learned that Converse had commissioned Pharrell Williams (N.E.R.D.), Julian Casablancas (The Strokes), and Santogold to collaborate on a song called “My Drive Thru,” which synergized three very different musical styles into a catchy, summer hit. The artists had complete freedom during the recording process, and the song had no mention of the brand or its products. Converse then framed their entire summer advertising campaign, “Three Artists, One Song” around the track. Not only did “My Drive Thru” provide the soundtrack for Converse’s commercials, but it could also be downloaded for free on converse.com. According to the company, the track was and became a music video. At one point, it became one of the most watched videos on MySpace; it currently has 1,668,966 views on YouTube.

For many reasons, I think this campaign was genius. But I was most impressed with Converse’s ability to segment and target a market that tries to disassociate themselves from all things commercial and corporate.

Converse chose eight markets to display their outdoor and transit advertising installations: New York City, Los Angeles, Chicago, Portland, Austin, Seattle, Miami, and San Francisco. These eight areas, known for their thriving urban culture, are arguably the “hippest” cities in the country, constantly setting forth the trends in fashion and music for other Americans.

The artists featured in the campaign would only be recognized by a very small group of Americans. This group has not only heard of seemingly obscure bands like the Fiery Furnaces and Does It Offend You, Yeah?, but they also know what the members of these bands look like, which requires in-depth knowledge of underground music. To this target market, Bradford Cox of Deerhunter is a very distinguishable figure, and putting him on a huge poster on the wall of a subway station would immediately grab their attention. Converse crafted their adverting efforts around the behavioral profile of a young, music-obsessed individual living in a trendy urban area.

Converse also reaffirmed its position in the world of rock and roll, as well as its influence on the urban fashion scene. According to the Chief Marketing Officer, Converse, realizing that “music is central to the Converse brand,” launched the campaign to “further [activate its] commitment to being a catalyst to creativity.” Obviously, creativity is essential to a company in the fashion industry. However, by selecting these up and coming musicians to promote the brand, Converse acknowledges their creative ability and achievement, asserting the artists’ influence on the target market. Converse is literally promoting creativity.

Converse’s incorporation of music was so seamless. Making music the center of the campaign was believable; it felt natural. Plus, the faces of the brand were all people that legitimately fit into the Converse culture. Pharrell Williams would wear Chuck Taylors; in fact, I saw him wearing purple ones at ACL.

Essentially, Converse took a huge risk by centering an entire campaign around a song that had no mention of their brand or products. But by doing this, they solidified their brand’s reputation among a core group of young people who seem to stay ahead of cultural norms and in turn, have a remarkable influence on their peers. By abandoning traditional marketing strategies, Converse managed to appeal to Generation Y, a demographic known for its skepticism.

The Paradox of Choice

The Official Dogma of the Western World is completely true. America really does buy into the idea that in order to maximize American citizens’ welfare, we must maximize freedom by maximizing choice. Schwartz described a shopping trip in which he was looking for a new pair of jeans. I recently experienced something similar. I walked into Express and came across their three “fits”: Stella, Eva, and Mia. There were also a myriad of styles, ranging from Skinny Leg to Fit & Flare. Did I mention all of these styles came in cropped versions? Needless to say, I was overwhelmed, especially since the jeans I had previously purchased were the Zelda fit, which had been discontinued.

Personalization has become a huge part of the market; many consumers today are willing to spend significantly larger amounts of money and time on products that were, in essence, created by them and for them. Before, it was cool to have what everybody else had, whether it was a pair of Doc Martens or a Coach over the shoulder purse. Now, it’s cool to have something that no one else has.

Companies are capitalizing on this trend, often focusing on segments that are easily influenced, teens. Neutrogena recently launched SkinID, a website that asks a series of twenty questions that evaluate your skin type, current skin routine, and lifestyle. At the end of the evaluation, SkinID recommends a bundle of three products that best fit your needs. For example, my SkinID is 7, 40, 32, so I should purchase the corresponding cream cleanser mask, toner, and anti-acne treatment. NikeID is a similar program in which customers can basically build their own sneaker.

Despite the appeal of personalization, Schwartz argues that there is an inverse relationship between the number of available options and participation. Since we no longer rely on experts to make the choices for us, the shift of burden becomes more evident. We realize the potential consequences of a bad decision, which can lead to paralysis. I have definitely noticed this behavior in myself. Overall, I am an indecisive person. But in the past few years, I have become more analytical than ever before, struggling to make even simple decisions. I don’t even have “gut feelings” anymore. When faced with a decision, my mind becomes a blank. Then, anxiety kicks in. Even after carefully weighing my options and making an informed decision, I often feel uncomfortably unfulfilled, constantly wondering whether I made the right choice. It’s definitely true that that the more options they are, the higher our expectations become, thus increasing our chances of being disappointed.

The Austin City Limits Music Festival is known around the country as one of the biggest and best summer musical festivals nationwide. As a devoted fan of music, ACL weekend is the highlight of my year. However, this past year, I suffered from what I now know to be the paradox of choice. On September 26, I arrived at Zilker Park, schedule in hand. I had a list of “must-see” bands, but other than that, I was open to anything and everything. On the second day of the festival, I wanted to see five or six bands that were all playing within a two hour period…on different stages, of course. I knew there was no way that I could see all of the shows in their entirety. But instead of choosing one or two that I could thoroughly enjoy from a decent spot, I decided to go to 15-20 minutes of each set, traipsing all over Zilker Park. Afterward, I was sweaty, grumpy, and in complete regret. If only I had been given less options…

But who was to blame? Surely not the festival organizers. All they did was bring in 120 of the most talked about bands of the year for the masses to enjoy. Would I have been happier if there was only one stage and twenty bands on the entire ACL lineup? Of course not. I had no one to blame but myself. After all, I was the decision maker. I could have done better. Oh, the paradox of choice…