Upcoming Speaking and Teaching Dates

I’ll be on the road a fair bit more than normal this June!

On June 11th, I’ve been asked to come and speak to the graduate students in the English Department at Carleton University about career paths for PhDs outside of academia. I hope they’re prepared for a good dose of reality… delivered kindly, of course.

From June 16th-20th, I’ll be teaching a course called “Digital Branding: Frontiers and Futures” in the prestigious McMaster-Syracuse Master of Communications Management program down at McMaster University. It’s an excellent low-residency program that brings together professionals from all over Canada and the US. From the program website:

This two-year independent study master’s degree program represents the output of a powerful partnership between McMaster University’s Department of Communication Studies and Multimedia, DeGroote School of Business and the internationally recognized S.I. Newhouse School of Public Communications at Syracuse University, the world’s leading provider of public relations and communications education. The program of study has been tested and expanded over the past 20 years and boasts nearly 400 graduates worldwide….

We combine the best of advanced professional communication, communications management and business administration courses. Unlike other elective or specialized Master’s Programs, MCM incorporates the numbers side of management training to let you develop the broader business acumen you need to find your place in management in the public, not-for-profit and private sectors.

We’ve also got some great guest speakers for the course. Like Mike Leon, CEO of Brand Heroes, and Casie Stewart, Director of Social Media at Community (and “social media cool kid” with her own blog, of course), as well as a couple of amazing organization partners for the final project.

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3 Things PhDs Leaving Academia Should Know About Business

Over the last little while, I’ve encouraged humanities PhDs to go into marketing, and I’ve suggested several things that grad students can do to prepare themselves for the possibility – in some fields, the probability – of going into a non-academic career once grad school is finished. (And this doesn’t just go for PhDs; a lot of this is applicable to holders of other terminal degrees, too.)

The thing is, though, the business world is much, much different from academia. It functions differently and it values different things. Although we – for the values of “we” who are likely to be reading this post – don’t live in a purely free-market society, we live in one based economically on the principles of capitalism, mixed more (Canada, Sweden, France, et al) or less (USA) with socialist ideals to create a big, messy, imperfect, but generally mostly functional economy in which businesses exist.

Keep in mind here also that I’m talking specifically about for-profit businesses here, though many non-profits function similarly – and many should do so, frankly, if they are concerned about making the best possible use of their grant or development funds. There are some businesses and organizations in which other values are prioritized over the fiscal health of the organization, but I’m not talking about those at this time.

So if you’re thinking of going into business, whether it’s starting your own or becoming an employee of someone else’s, here are 3 things you should keep in mind. They aren’t universally applicable, but they’re applicable enough of the time that you should be aware of them, and they’re different enough from the academic system that they may surprise you – if not in concept then in execution.

1. You’re only as good as the value you bring to the company. There’s a common complaint among people with graduate degrees who are seeking work outside of the academy: “no one cares that I have a PhD/MA/MFA/whatever!”

That’s right. No one cares.

OK, now that I’ve been harsh, let’s unpack that a bit. This is not to say that no one cares about you, or that your degree is worthless. Your degree is actually quite likely to be worth a fair bit… provided, of course, that the skills and abilities it has helped you to develop are of use and value to your employer and/or your clients. My PhD has proven invaluable to my work as a marketer, in part (but not wholly) because of the things the PhD process taught me to do: synthesize information, write well and cogently, teach and present effectively, and hold myself to high standards in the work I present to clients. And many employers, though not all, are impressed by the fact of an advanced degree if it’s accompanied by relevant skills.

But in and of themselves, those letters after your name mean nothing. Your value rests on what you can do to create value for your employer or your client, not your academic profile or the prestige of your degree.

It’s a simple concept, but it’s one that I actually find fairly freeing. It strips away the BS, frankly. It’s not personal in business: it’s just business. If you provide value, you’ll be sought-after, and if you don’t, you’re likely to be let go. And if you’re going to succeed in business, then this is probably the approach you’ll want to take, too.

2. No one owes you anything. Not a job, not an opportunity, nothing. This is the case inside the academy as well, and it’s getting to be more and more true by the year. But there’s a narrative thread through academia that goes like this: if you go to a good graduate school, if you teach enough classes, if you publish enough good papers, if you get a good book contract, then you’ll achieve success in academia. You’ll get a tenure-track job, or tenure, or whatever it is you’re chasing. You’ll have a Career, and you’ll be a Professor. And if you don’t get those things, well, then, you must have failed somewhere along the way. And because you are your academic work, in this mindset, it means you’re a failure.

The narrative thread in business is this: if you prove yourself valuable to a company or organization, they’ll keep you around. If you’re not valuable, they won’t. If you don’t succeed, it’s not because you’re a failure: it’s just because you didn’t provide value to the company to justify your compensation. You haven’t lost your opportunity to be what you want to be; you’ve gained an opportunity to try something else and see if you can succeed at that instead.

I mean, heck: there’s a whole sub-category of articles in magazines like the venerable Harvard Business Review that talk about the value of failure.

This, also, is freeing. If no one owes you anything, then what you achieve, you’ve earned. (Or you’ve gotten by unfair means, but that’s the way things go in business. Which brings me to…)

3. All’s fair in love and war… and business.

That is to say: business isn’t fair.

Academia isn’t fair, either, but it has a veneer of ostensible fairness. Like so many things in academia, this is an illusion – and it’s actually quite destructive because of the tautology that comes along with it. If something unfair happens, then it couldn’t be that unfair, because it’s the university, and the university is inherently elevated to fairness in a way that for-profit companies aren’t, right? Nope.

Business is just unfair in a more transparent way. Talent doesn’t always find its way to the top. Often, success comes as much or more from who you know and can impress than how purely good you are at whatever task people are hiring you to do. (This is why networking is so important.) People who have more social capital – whether it’s because they come from a wealthier/more connected background, they’re better at networking, or they’re friendlier and make a better impression – will have a much easier time in business, at least initially. It’s not fair, but it’s the way it is. (As an aside, this is why I love Ask A Manager so much. You’ll find that her constant refrain is “No, it’s not fair, and it sucks, but that’s the way it is. Now you have the information you need in order to make a decision.”)

But in some ways, business is actually more fair than academia is. If you aren’t good at what you’re setting out to do, fewer people will pay you to do it, and you aren’t likely to be successful in the long run. But conversely, if you’re talented in a way that provides value, then you’ll be indispensable and in demand, and you’ll find that success is likely – not guaranteed, but likely – to come.

What do you think? If you’ve left academia, do you find these things to be true for you? Why or why not?

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What Socio-Economic Responsibilities Do Universities Have? Part 1: Overview and Questions

I’ve written a fair bit about academia from the outside in: about how to be an academic outside of the traditional TT path, about how to prepare yourself in graduate school for an academic career, and about why marketing – my own career path, with which I’m very happy – could be an excellent choice for humanities PhDs who are preparing to leave the academy as a primary career.

Today I’m going to make the first in a multi-part series of blog posts about the responsibilities that universities have, in my view: to their students, to their staff and faculty, and to the society that funds them. Often, I would argue, universities are not fulfilling their responsibilities to their stakeholders. This is due in part to difficult financial limits, in part to financial decision-making that I would question, and in part to a value system that, I believe, sometimes values the wrong things.

(A caveat to all of this: I happen to teach part-time for two institutions that pay well and that value the contributions of part-timers, which is much more common in Canada than it is in the States, I think. The universities where I teach, in particular, have innovated their offerings and their employment policies in a way that generally benefits both students and faculty. But it is, perhaps, because I am to some extent on the outside of these issues that I feel more invested in questioning them.)

Overview: the retail academic, the under-educated student, the frustrated graduate

The challenges of the part-time academic are well-documented. The report “Who Is Professor Staff – And How Can This Person Teach So Many Classes?”, prepared by the Centre for the Future of Higher Education, is one of the most incisive and comprehensive studies of the current system’s effect on higher ed.

The percentage of teaching done by low-paid, low-security post-secondary teachers has skyrocketed in the past decade, and we all know how bad this is for them. But what sometimes gets lost in this rhetoric is the effect this system has on the students being taught. After all, teachers’ working conditions are students’ learning conditions. And if teaching conditions deteriorate, then learning conditions will do the same, no matter how much considerable effort a teacher makes to mitigate that harm. A part-time professor who must teach eight writing-intensive sections of an introductory English class in order to make ends meet will simply have less available time to meet with and support students outside of class. A school that pays teachers only for the hours they are in the classroom provides a specific incentive for teachers to limit their outside-of-class support of students, support that full-timers are obligated to provide. Simply put: the more part-timers replace full-timers in the system, the worse off students will be. This is not a problem of insufficiently dedicated instructors; it is a sheer physics problem.

Further to this issue – in fact, another facet of the same issue – is the trouble with unemployed graduates. Professors are often students’ first professional references, and part-timers are often either unable or unavailable to provide these references for former students. The transient nature of the job means objectively less support for new grads who took classes with these profs. Of course, it is also a student’s responsibility to keep in touch with former professors and to build their side of the relationship, but it is much more difficult to do this with a professor who’s teaching part-time.

So, the verdict seems clear: for faculty and students, the current set-up is less than ideal. But is it the best way forward for the universities themselves? Is it even the only way for universities to survive in the current economic climate? Or is it an unnecessary redistribution of resources along the lines of a for-profit corporate model?

Public vs. private

It would seem initially important to make a clear distinction between public and private universities and four-year colleges. Here in Canada, of course, all universities and colleges – except for Quest University, an outlier – are publicly funded, in a similar but not identical method to that of state schools in the United States. Similarly, universities in the UK are publicly funded, and in fact tuition fees are pretty much standard across the board. In the States, though, you have both public and private universities and colleges, with tuition at some private schools exceeding $40,000/year.

So, do American private universities have less of a responsibility to society than do universities that are publicly funded? Should they have more freedom to structure themselves according to a corporate model, including the use of casualized labour, than would a government-funded institution?

The fly in the ointment here is the extremely widespread use of US government-subsidized student loans to fund education. In fact, the majority of student loans taken out in the United States are subsidized by the government, which means that plenty of “private” education is publicly funded, just in a more indirect way. Of course, this is no different to corporations that are “publicly funded” through tax breaks or bailout funds – remember how General Electric paid no federal taxes on over $5 billion of profits in 2010? – but it speaks to the fact that there is no bright-line distinction between publicly funded and privately funded higher education.

The upshot? The majority of higher education in the United States, Canada and Europe is, in some way, paid for with public funds. Frankly, I don’t know enough about the higher education systems elsewhere in the world to make any kind of educated commentary, so I’m leaving them be for now. But in North America and (much of) Europe, this is the status quo.

So what effect does, or should, this have on the economic and social responsibility of the university towards the society whose students it educates?

Education for the greater good?

One of the biggest questions here is, I think, the role of education in a society. Are universities – and should universities – be primarily concerned with meeting their own bottom lines, with running themselves (both in and of themselves and in the context of their immediate communities), or with contributing educated citizens to the greater society in which they exist? Inasmuch as universities must fulfill all of these responsibilities, how should they be balanced?

And what happens when financial obligations and/or constraints force a university’s hand? To what extent does a university’s nature as an inherently public-private partnership determine its responsibility to each stakeholding party? Do different types of universities, with different constituent groups and student demographics, have different levels or types of responsibility in different contexts?

In Part 2 of this series, to come whenever I have time (i.e. in the next week or two), we’ll take a good long look at these questions, and break down a university’s responsibilities by stakeholder.

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We’re growing!

Over the past year or so, it has been fantastic to watch my small digital/social media marketing and communications consultancy, ideas in flight, grow from fledgling to thriving. I am very lucky to have a set of fantastic clients with whom I love to work, and fantastic students at the Schulich School of Business at York University.

And because more is always merrier when it comes to talented folks, I am delighted to announce that Madeline Ashby will be joining ideas in flight as of February 11th as our new copywriter and social media assistant.

Madeline is a writer and strategic foresight consultant living in Toronto. She holds Master’s degrees from York University and OCAD U, where she earned a M.Des. in Strategic Foresight and Innovation. Madeline’s work has appeared at BoingBoing, Creators Project, Tor.com, and io9.com. As a foresight specialist, she has worked with Intel Labs, Strategic Innovation Lab, Gorbet Design, and Stornoway Communications. Her debut novel was released in 2012.

Madeline’s extensive experience in writing, research, strategic analysis and social media planning and execution and her expertise in technological innovation in the social media space will be of enormous benefit to our clients and company alike. We’re delighted to have her on board.

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Marketing as Creative Pursuit

Let’s play a game.

Close your eyes, and think of a “creative person.”

No, seriously. Do it.

What did you come up with?

Maybe you thought of someone specific: an artist like Michaelangelo or Caravaggio or Picasso or Andy Warhol or Jackson Pollock. A musician like Beethoven or Sibelius or John Lennon or Nelly Furtado. A writer like Shakespeare or Dickens or Jean Rhys or Zadie Smith.

Maybe you thought of an archetype instead: someone wearing bright mismatched clothes, or someone  painting furiously or practicing an instrument into the wee hours or sitting bleary-eyed in front of a computer, finishing the first draft of a novel. Maybe a grey-haired, straight-backed choreographer working with a cadre of ballerinas, or a designer flipping through fabric swatches and sketching out a floor plan.

My guess, though, is that you didn’t think of a marketer.

Why not?

Got a Humanities Degree? Go Into Marketing.

When I was just an undergrad, in between classes in Canadian poetry and postcolonial literature, I’d already started to think about what I could do with my degree. I knew how unlikely it was that I would be able to make a living as a novelist or creative writer, or even discussing literature and writing papers as an English professor – and to be honest, I wasn’t sure that was what I wanted to do, anyhow. After I started working as a marketing assistant at Studentawards.com during my degree, developing an online forum where prospective students could talk to each other, I started to think about how I could apply my creative thinking to business problems.

TalentEgg suggests that I’m not alone. Among new graduates who were working in marketing in 2010,  34% had a degree in business – and a total of 23.5% had degrees in either modern languages or English. That’s right: almost a quarter of new marketing professionals have a language or literature degree, second only to business grads.

Why?

I’ve written before about why marketing needs humanities PhDs: our finely developed skills in research, writing, presentation and critical thinking overlap nicely with the skills that successful marketers need. But there’s another attribute shared by many humanities graduates and the best marketers: creativity.

What Do You Mean By Creativity?

Let’s go back to the game we played earlier. It’s easy to understand art, music, film, literature, theatre as creative pursuits, and the industries that have grown up around them as creative industries.

My argument, though, is that marketing, when it’s done right, is also a highly creative pursuit.

Take, for instance, this in-class assignment I gave to my MBA social media marketing students at York this semester:

What I’m asking students to do is to tell a story about the Tiffany’s brand: and more than that, to devise a mechanism whereby they will encourage others to tell their own stories around the brand as well. This task requires highly creative thinking. In understanding how to target this campaign, the students need to think creatively about who that target audience is, what they want, and what will reach them. Just as a novelist writes or a dances dances to elicit a reaction in his or her audience, the marketer does the same.

And before you claim that the artist makes art for art’s sake while the marketer creates in order to sell: not quite. Ask any novelist whether they want to sell their books, or any actor whether it’s important that people pay for tickets to their shows.

There’s a reason why there’s a film industry, a music industry, a publishing industry, just like there’s a marketing industry. The creative industries are essential – both their creative input and the fact that they are industries. There is no shame in accepting support for creativity. In fact, the saleability and interdisciplinary applicability of creativity – the fact that it fits nicely into the system in which we live – is one of the things that allows it to thrive.

The Need for Creativity in Business

It’s not just successful marketing that requires creativity. John Dragoon of Forbes argues that creativity is actually one of the most important hallmarks of a successful business leader:

True business and marketing leaders embrace uncertainty and complexity as creative catalysts that invite and, in fact, demand innovation. Creative leaders should view constraints at every level as exciting challenges that release–not restrict–creative responses. Additionally, creative leadership recognizes the risk in trying new things and doesn’t fear failure.

We talk a lot about the need for innovation in business, but too often, the kind of creativity that drives painters and writers is divorced from the kind of creativity that drives business innovation. Because business and the humanities are often “silo’d” from university onwards, there’s a crucial lost opportunity to work in an interdisciplinary way and to apply the creative thinking of the humanities to business – and to help humanities-oriented students and workers understand the business principles that could help them scaffold their thinking in real-life scenarios. This is one of the reasons why I think it’s great that humanities grads are being hired in marketing, and why I believe that a humanities degree can be a plus, not a minus, in business.

In other words: that impulse that gets you past writer’s block, or helps you figure out a chord progression that’s just not working, or helps you mix a difficult colour just right? It’s the same impulse that could help you solve a business problem. And vice versa.

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We’re hiring! – CLOSED

We’ve had an overwhelming number of applications for this position from a ton of brilliant, creative people. It’s absolutely amazing.

However, at this point, we’ve held our interview process and chosen our new Junior Copywriter/Social Media Assistant, who starts in early February. Stay tuned to see who the new team member is.

Many, many thanks to each and every one of you who applied to work with us. We only wish we could have hired many of you. (That’s totally sincere, by the way.)

Guess what? We’re looking to add another member to our small but brilliant team: we’re seeking a Junior Copywriter/Social Media Assistant. This is a part-time position (15-20 hours per week) but we anticipate that it will become full time within 12 months.

Could this be you? Here’s what we’re looking for in our candidates:

  • Educated to at least BA level; graduate degrees welcomed, particularly in the humanities
  • Truly exceptional writing skills
  • Some experience with social media: we’ll want to see your own personal profiles as well as any other you’ve managed
  • Highly motivated; a self-starter
  • Ability to take direction and work to client needs

Our ideal candidate would be based in Toronto or nearby, but we’re open to the possibility of telecommuting for the right candidate and with the right arrangement. Competitive pay.

If you think you might be the right fit for this position, please email me with a cover letter, CV and 2 writing samples, or tweet at me @DrJessicaLanger.

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Why Being An Academic is like Being a Novelist, And Why That’s OK

Preface: I’m writing this post as someone who has an ongoing affiliation with academia – I teach social media marketing in the MBA program at the Schulich School of Business at York University – but does not currently make her living primarily as an academic. Instead, I run a small marketing agency and develop and implement training programs for corporate clients, and I teach and research as well. That said, my PhD is in a humanities field, and I’ve spent many years now watching my peers beat their heads against the brick wall of the current state of academia in the humanities… and, more and more, this mismatch between the needs and structure of the university and the training and goals of the graduate students who aspire to professorships has spread to other fields as well.

As I’ve discussed in previous posts, there are lots of routes out of academia for those who are so inclined. Marketing and communications can be a great field for grad-degreed folks in the humanities, for instance, and there are things you can do in grad school or shortly afterward to lay the groundwork for a non-academic career. But the thing is: even if you “leave” academia, even if you decide not to make your living at the life of the mind, you can still be an academic.

I am.

Whither a “Writer”?

There’s a novelist called Jay Lake whose books I love and whose blog I read. (I met him once, at Worldcon 2007 in Japan, but I doubt he remembers me; if he does, though, hi Jay!) Jay is an incredibly prolific writer. He’s very well known and highly regarded in the science fiction community. His books have been nominated for major awards and they sell well. Jay is, by all accounts, a writer. He’s a novelist.

Jay also has a day job to pay the bills (or as he calls it, a Daye Jobbe).

Take also my dear friend Trilby Kent, this year’s winner of the Canadian Children’s Book Award. Trilby’s books are extraordinarily well-reviewed and well-respected, and have been added to school curricula all over the world. Trilby is, by all accounts, a novelist.

She is also in the midst of doing a PhD in Creative Writing. When her PhD novel is finished, she will likely teach.

The majority of novelists I know are not only novelists. Most of them do other things as well. Lou Anders is a novelist, but is also the editor-in-chief of Pyr Books. Paul Cornell is a novelist, but he also writes comics and television shows. (OK, maybe Paul is pretty much a “pure” writer.) Nalo Hopkinson is a novelist, but she is also a professor at the University of California, Riverside. Joseph Kertes is a novelist, but he is also the Dean of the School of Creative and Performing Arts at Humber College.

What You Do To Make Money Is Not What You Are

I’m going to say that again: what you do to make money is not what you are.

There’s this corrosive idea, this scratchy little voice, that lives in the corners of the academy and whispers from the darkness: “If you were really dedicated to your work, you’d give up everything else in your life for your academic work.” Academia loves itself a martyr. But that voice is a lie. Ignore it.

Sometimes, what you do for a living coincides with what you love, or what you want to be, or how you define yourself at the heart of the matter. I happen to be one of those people; I am an academic and I love it, but I am also a marketing professional and I love that, too.

But sometimes it doesn’t. Sometimes, what you do for a living doesn’t have a whole lot to do with what you really do.

A musician who waits tables is a waiter, but also a musician. A writer who teaches is a teacher, but also a writer. A painter who works as a lawyer is a lawyer, but also a painter. And an administrative assistant or a shoe store clerk or an advertising copywriter who does original academic research and/or teaches at the college or university level is an academic.

Academia Is As Academia Does

Ultimately, what I’m calling for here is a radical revisioning of what it means to be an academic. Just a small task! This process has already started, though, with the concept of “alt-ac” – that is, alternative careers within the academic context for those with grad degrees. It’s started with the advocacy of the Versatile PhD, which provides information and support on alternate careers for academics.

But what I’m talking about isn’t an “alternative” to academia. It is academia. It’s an academia of independent scholars, of salespeople who write articles in their hotel rooms on the road, of copywriters who spend their weekdays writing taglines and their weekends at the library. An academia that is, frankly, structured a lot more like many business schools are now: in which part-time faculty members are valued not only for the academic skills and expertise they bring to the classroom, but for the non-academic ones as well. In which the academy and the world outside are not adversaries but partners, and in which the doors between are open, not closed.

I’ll start. Who’s with me?

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Chick-Fil-A and Facebook: How Do You Prove a Negative?

Photo via TechCrunch.

There’s been a lot of buzz in the past few days around an exchange on the official Chick-Fil-A Facebook page. TechCrunch has a screenshot of the conversation. Basically, in light of Chick-Fil-A’s official anti-gay-marriage political stance, Jim Henson’s company pulled its branded Muppet toys from Chick-Fil-A’s children’s meals.

There was some controversy as to whether the Muppets were kiboshed as a response to Chick-Fil-A’s political views. Jumping into the fray was gramatically-challenged “teenage girl” Abby Farle, who claimed that “no my friend went to chickfila 3 weeks ago and there was no toys. derr” [sic]. Her profile photo, as an astute commenter pointed out, was actually a stock photo. She clearly wasn’t who she said she was.

So who was she, then? Was she Chick-Fil-A, posing as a fan? Or was she someone else?

The Problem with Anonymity

This particular problem is multi-layered. It’s a problem with anonymity online in general (the issues with which are many and much-chronicled) and also a problem with the specific way that anonymity works on social media platforms like Facebook and Twitter. It’s up to them to decide whether you’ve been impersonated online and what will be done about it. It’s also up to them to collect and control identifying information about members, and how to release it – or not – publicly.

It’s an even broader issue than that, though. It’s a problem with anonymity, full stop. It comes from the basic human desire to communicate socially unacceptable sentiments from behind the veil of anonymity, so as not to jeopardize one’s social standing. We can see this in everything from the crude graffiti found on walls in the lost Roman city of Pompeii to the iconic threatening note made from letters cut out of a magazine to the hell that breaks loose in comment sections on, basically, everything on the entire Internet.

The difference with Facebook, of course, is that anonymity theoretically doesn’t function there. According to Facebook’s terms of service, this should never have happened in the first place:

Facebook users provide their real names and information, and we need your help to keep it that way. Here are some commitments you make to us relating to registering and maintaining the security of your account:

  1. You will not provide any false personal information on Facebook, or create an account for anyone other than yourself without permission.
  2. You will not create more than one personal account…

The creation of “Abby Farle” pretty clearly violates the Facebook ToS. But anyone who’s been on Facebook for more than 5 minutes will see that this part of the ToS isn’t particularly strictly enforced (and by “particularly” I mean “at all, for the most part”).

Proving the Negative: Why Any Company With A Facebook Page Should Be Paying Attention

Facebook isn’t about to start analyzing IP addresses to figure out exactly who posted the “Abby Farle” posts; they don’t have to, and frankly, it’s not their job. This is a PR crisis, not a criminal one. We may never find out for sure who created the Abby Farle Facebook account and posted on Chick-Fil-A’s wall – even if someone claims it, they may or may not be telling the truth.

And therefore, more importantly in this case, you can’t prove who didn’t do it.

You certainly can’t prove that Chick-Fil-A didn’t. Even if they had nothing to do with the debacle, they can’t prove non-involvement; and in the absence of proof, suspicion remains.

The dangerous thing for organizations on Facebook, in particular, is that this could happen to any of them. A disgruntled employee, a competitor, or just someone who disagrees with their political stance could engineer something similar, in a way that places suspicion on the company itself. Part of me wonders why this doesn’t happen more often, to be honest: all the tools are there. I do wonder whether it will happen more often now.

What Can We Do Now?

The greatest lesson for organizations following the Chick-Fil-A controversy is twofold.

First, be vigilant. Understand that anonymity online just doesn’t function in reality like it does in the platform ToS. Make sure that your social media channels are consistently monitored by an experienced social media manager and that you have a plan in place to mitigate any potentially damaging communications.

Second, understand the weaknesses of your social media platform(s). More specifically, understand how they might be used against you, and have a contingency plan – and ideally, a crisis communications plan – in place. This is one of many reasons that you need an experienced social media manager handling your presence on social media channels: these are powerful platforms with a lot of public influence, and they need to be understood as such. An experienced and astute person will be able to shape your response to a crisis like Chick-Fil-A’s.

What do you think? How would you have responded to a controversy like this?

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I’m quoted in the Times Higher Education magazine today!

This morning, I woke to some exciting news: Times Higher Education writer and editor Phil Baty has quoted my blog post “4 Things To Do to Prepare for a Non-Academic Career” in his leader article for the magazine, “Too Many Snakes, Too Few Ladders”. Karen Kelsky of The Professor Is In is also quoted.

If you’re an aspiring academic, or if you have or are working on a graduate degree and are considering leaving the academy for the private sector or other work, please do read Phil’s article in the THE, along with the anonymously written but very moving and important story accompanying it. (And you might like to read mine, too; I like to think it’s helpful!)

As well, I’ve had an increasing number of emails lately from people who are looking potentially to leave academia and are hoping for advice or even just a human connection with someone who’s been there. As it was when I was a professor – and as it will be again in the fall, of course, when I start teaching at Schulich – my door is always open. Feel free to drop me a line.

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On Marketing and Branding in Japan: A Few Notes

Earlier in May, I spent about a week and a half in Japan. Part of my trip was dedicated to doing a little bit more research on a film I uncovered in the archive of the National Film Centre in Tokyo (with the kind help of Xavier Bensky) in 2007. The film is called Kaidenpa senritsu, and it’s the only surviving pre-war Japanese science fiction film. You can read a little bit more about it in my book.

The other part was dedicated to doing some research on branding strategies in Japan and how they relate to the wider culture(s). There’s already some interesting work on this: for instance, Martin and Herbig’s 2002 article “Marketing implications of Japan’s social-cultural underpinnings” is a good place to start. But as I start preparing for doing some research this fall in consumer culture theory, I thought it would be interesting to see firsthand some of the branding strategies that companies use there.

Here are some of the things I noticed: these are just informal notes, a starting place for further research.

1. 727 Cosmetics and the Shinkansen

Image via blog.goo.ne.jp. I didn't manage to snap my own photos of these, but this one is fairly representative.

I did a fair bit of traveling while I was in Japan, as I had a JR Pass. This pass is one of the greatest travel inventions ever, as it allows you to travel anywhere the JR goes, including on the shinkansen, for the entire duration of the pass. I spent a lot of time on the “shink”, and instead of reading, I mostly looked out the window.

What did I see out the window? Mountains, homes, rivers, beaches, bamboo, shrines, rice and green tea fields, all the beautiful things you see on every train trip… and hundreds of signs for 727 Cosmetics.

It seems that 727 Cosmetics had taken the billboard concept to its logical conclusion and, with permission (and payment) of farmers and small landowners, set up large signs in fields and on hillsides all along the shinkansen route. Most of these were nowhere near stations, but were instead dotted across the long stretches of rural land between stops, in small towns that looked hardy but not particularly flush.

Not many other companies seemed to have done this; there was one, but I cannot for the life of me remember its name – which suggests that perhaps that company didn’t put enough signs along the route! I wonder if 727 Cosmetics paid for exclusive signage rights, and how much. I’m also somewhat surprised that more companies here in Canada don’t do this: there are tons of billboards along the roadsides in rural areas, as we see on our frequent drives up to the cottage in the summer, but not many that I’ve seen along the train routes.

2. Animation Sells

Photo copyright Jessica Langer, 2012.

This shouldn’t be a surprise to anyone who has even a passing familiarity with Japanese culture, but it’s important to note nonetheless. Animated characters are everywhere, and they brand things. In fact, they brand nearly everything. Including smoking in public, as the photo to the left shows.

What Japan has done fairly successfully with its brand characters, though, is something that hasn’t been quite so successful with North American characters: taking a brand character and extending its signification into the non-brand cultural space, turning it into an artifact that simultaneously signifies and does not signify its brand. There have been some experiments in this direction with North American characters – does anyone else remember the execrable Chester Cheetah: Too Cool to Fool Sega Genesis game from 1992? (If you don’t, be very glad.) None of these, however, has had the social traction of what I might call “transitional” Japanese brand characters.

One example of these is “Suica’s Penguin”, who now has his own store at Tokyo Station, “Penguin Stadium” (or “PenSta”). Suica – which means “watermelon” in Japanese, but watermelons are not nearly as cute as penguins – is a rechargeable transit card that’s usable throughout most of eastern Japan. The penguin is its mascot, and has become so popular that merchandise featuring the penguin sells very well.

This is all probably associated with the huge popularity of “cuteness” in Japan, but that’s for another post.

…Okay, confession time: I bought a Suica’s Penguin notebook myself. It’s very cute.

3. Loco for Local

Image via goukaseishi.com.

One major social convention in Japan is that when you travel anywhere, you must bring gifts back home for your friends and coworkers. These take two forms, which often overlap: meibutsu, which are goods for which a particular part of Japan is “famous”, and omiyage, yummy treats for everyone.

Big brands have gotten into the swing of meibutsu, the largest being Sanrio, the makers of the famous character of Hello Kitty. Initially, one would think that intense localization would limit the extent of a meibustu brand’s reach, as it would become associated with one particular region (and therefore not the others). However, Sanrio has figured out a way to reverse this concept, integrating Hello Kitty with local tradition and iconography.

In Hakone, which is famous for its sulfuric hot springs and “onsen eggs” (eggs cooked in the boiling hot springs, whose shells turn black from the sulfur – it’s a lot less disgusting than it sounds), Kitty-chan is holding a blackened egg. On Miyajima off the coast of Hiroshima, which is famous for its incredible “floating” red torii gate, Kitty is sitting under a torii. Even different areas of Tokyo have their own Hello Kitty products: the old shopping district of Asakusa near the Senso-ji, where I stayed this trip, had its own Hello Kitty gimmick currency a few years ago.

Culturally, people in Japan generally take a lot of pride in the things for which their region is famous. The ubiquity of Hello Kitty, and its association with nearly every single place – and every single thing that place is famous for – brands the character of Kitty-chan as an inextricable part of Japanese culture, and piggybacks on that pride.

Further Questions

This is all just some very preliminary thoughts, a few starting points for some further research. I wonder, though: where is branding going to go in the next few years, especially since Mixi (the huge Japanese social network) seems to be losing ground to Facebook? How will Japan’s reliance on the mobile web affect companies’ marketing strategies? And, in an increasingly internationalized, increasingly digitized world, how will Japanese brands marry local and global?

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