Here Be Monsters|blog

Just had this sent to me by a mate (thank you JB) and thought it amazing. Can't tell you anymore about it, (who, why when etc) but if any of you can do share

Otherwise enjoy

rock n roll

I don't know much about Nine Inch Nails. I know I don't like their music. I know I love their marketing  skills.

To launch their new album, Year Zero, they included URL clues on their tour t-shirts which lead fans to websites that described an apocalyptic vision of the US. Memory sticks were found in toilets with tracks on them. Samples of tracks were played on radio stations unannounced in the wee small hours. Telephone numbers appeared on fan sites. All very clandestine, all very brilliant. All very I love Bees.

I wish I'd done it.

THAT VIDEO

Everybody has been talking about this video, so what's the point me sticking it up here too?  Well, I've also come across an interview with Michael Wesch, the video's maker, which you can read here.

A breath of Fresh Air

Above is a freebie magazine from Vice. It's for students and while I most certainly can't claim to be one of them I dis pick it up and had a read. And I'm so glad I did.

Not since the first time I picked up an Innocent bottle have I been so impressed by the writing - no lazy adspeak here, no lame jokes, no pandering to the lowest common denominator. No siree, this was a joy; original, funny and risk-taking.

And before you start, well of course, it's for students, it's a niche brand, they can get away with murder  blah blah blah- that's simply bollocks and I'll produce any number of student, niche brand marketing material to prove it.

Sure it's not a tone that's suitable or desirable for a lot of brands (although it is one that's exactly right for them and their audience). But that's not what I was excited by. It was the freshness of picking something up and actually being engaged enough to read more.

Vice writers. I salute you.

A WISE LESSON FROM AN OLD AD

This is a bit like finding a fiver in the pocket of the pair of trousers you've just put on, or discovering an old jumper in the back of the cupboard whose style has just come back in fashion.

An old much loved ad from the past that I had completely forgotten about until I bumped into it on Youtube.

A lesson in life in 30seconds and yet it still does remembers who's paid for it for the brand. Can anyone think of anyother ad that occupies this space. Possibly Adidas, impossible is nothing. Any others? I wonder if you could put a self-help book together made up of only ads?

Nice vid.

Why can't the save energy ads be as much fun?

Thanks for psfk for the nod.

I LOVE SIMPLICITY

I love the simplicity of this.

why I love consumer power

I've just been made aware of the exceptional reviews on Amazon for the above album. Thank you Anna. Thank you.

And then there's the video.

IN Praise of Hard work

Okay, so you work long hours, but does that mean you're working hard? Because, "long" and "hard" are now two different things. In the old days, we could measure how much grain someone harvested or how many pieces of steel he made. Hard work meant more work. But the past doesn't lead to the future. The future is not about time at all. The future is about work that's really and truly hard, not time-consuming. It's about the kind of work that requires us to push ourselves, not just punch the clock. Hard work is where our job security, our financial profit, and our future joy lie.

It's hard work to make difficult emotional decisions, such as quitting a job and setting out on your own. It's hard work to invent a new system, service, or process that's remarkable. It's hard work to tell your boss that he's being intellectually and emotionally lazy. It's easier to stand by and watch the company fade into oblivion. It's hard work to tell senior management to abandon something that it has been doing for a long time in favor of a new and apparently risky alternative. It's hard work to make good decisions with less than all of the data.

Today, working hard is about taking apparent risk. Not a crazy risk like betting the entire company on an untested product. No, an apparent risk: something that the competition (and your coworkers) believe is unsafe but that you realize is far more conservative than sticking with the status quo.

Richard Branson doesn't work more hours than you do. Neither does Steve Jobs or Alan Sugar or Julian Richer.

None of the people who are racking up amazing success stories and creating cool stuff are doing it just by working more hours than you are. And I hate to say it, but they're not smarter than you either. They're succeeding by doing hard work.

As the economy plods along, many of us are choosing to take the easy way out. We're going to work for a big company, letting him do the hard work while we work the long hours. We're going back to the future, to a definition of work that embraces the grindstone.

Hard work is about risk. It begins when you deal with the things that you'd rather not deal with: fear of failure, fear of standing out, fear of rejection. Hard work is about training yourself to leap over this barrier, tunnel under that barrier, drive through the other barrier. And, after you've done that, to do it again the next day.

The big insight: The riskier your (smart) coworker's hard work appears to be, the safer it really is. It's the people having difficult conversations, inventing remarkable products, and pushing the envelope (and, perhaps, still going home at 5 PM) who are building a recession-proof future for themselves.

Author Seth Godin.

I share it because it sums up perfectly what we're forever banging on about alot at Here Be Monsters, the constant need to be smart in what we do.

WHAT WE CAN LEARN FROM TV?

I've lifted this from an interview Creative Generalist did with Steve Callaghan, writer and producer of the Family Guy cartoon series. Here is how he describes the process of developing and writing a script.

"Well, as you might imagine, it is a highly collaborative endeavor. There are about 100 people or so who are in some way or another involved in putting together an episode. The process begins, of course, with the writing staff. My fellow writers and I will come up with a concept for an episode and discuss the general storyline that it would contain. The episode is then assigned to a particular writer who will write the first draft of the script. The whole writing staff then takes that first draft and, as a group, rewrites it -- improves jokes that might need some help, fixes any story issues, etc. -- before the show gets recorded by all of our voice actors. Once the audio has been recorded, then our animation team takes the baton, creating an animatic, which is a rough, pencil-sketch version of the show. Once we all screen the animatic, the writers take another pass at the script to address any remaining writing issues. A while later, the show comes back in color. We then do one more, smaller rewrite on the script before the finishing touches (music cues, sound effects, etc.) are added and then you've got yourself an episode of "Family Guy."

Now, compare that with how the typical creative team in the typical ad agency creates their script.

Account person and/or planner explain brief to creative team. They leave. Creative team spend anything from a day to a few weeks sweating it out. They present their ideas to the CD, who says yes, no, maybe, perhaps etc. What is very unlikely is that he will spend any time working with the team beyond this verbal input. Not through laziness, but because the script 'belongs' to the team. Work is then presented back to the account person-planner combo,  who are allowed to comment on it, but only within the confines of their job title remit. God help them if they mis judge this and over step into the creatives' domaine. Conversations between planner and account person, account person and client, planner and creative director, planner and client all take place in a isolation to one another. As a result nothing much changes in the script until a director is selected. Now the creative team will listen and make changes, because a) the director is also a 'creative' and  b) the team really want to be him.

I've been fortunate enought to have been a part of both processes and I know which one delivers the better work.