The document discusses the evolution of content creation and distribution, highlighting the shift from traditional creative agencies to new players empowered by technology. It emphasizes the changing landscape where brands and publishers are now focused on producing culturally contagious content that engages audiences effectively. Key conditions for successful cultural contagion are outlined, including the importance of credibility, thematic iteration, and co-incentives.

1. CREATING CULTURAL CONTAGION:
THE “WHY NOW” & THE “HOW”
MARCH 27, 2014

3. Changes Misdirect Solutions

4. ACT I
CHANGES

5. “Admit that the waters
Around you have grown
And accept it that soon
You'll be drenched to the bone”

6. There was a time when brands
thought creative agencies were the
authority on idea generation

7. The best mass storytellers

8. The most effective attention-grabbers

9. BUT EVERMORE, BRANDS ARE
STARTING TO DOUBT THAT...

10. Because new players
are controlling how
content is delivered

11. Because new players are
shaping how everything
is evaluated

12. Because new players are
changing the way
content is created

13. This state of uncertainty
and instability is only a
matter of perspective

14. We’ve seen this play out in music as
well, when labels were making HUGE
investments in the creation of content

15. Long hours in big studios

16. The hottest producers

17. The best engineers

18. Best directors

19. Big budget promotions

20. All in the hopes of people
consuming content...

21. Things were going really, really well...

22. The industry was on rails,
until things changed

23. 1. Ubiquity of technology

24. 2. Access to tools

25. 3. Rapidly decreasing learning curve

26. 4. Removal of arbitrage

27. 5. Content parity

28. 6. Distributors as the arbiter of value

29. 7. Vehicles that enabled the by-pass
of the traditional system

30. All of which established new players to
lead the new world order in music content

31. As a result:
‣ Soulja Boy makes hay
‣ Justin Bieber emerges
‣ Frank Ocean breaks away
‣ Vevo is forged
‣ Beats is established

32. Advertising is at the same
point of inflection

33. 1. Ubiquity of technology

34. 2. Access to tools

35. 3. Rapidly decreasing learning curve

36. 4. Content parity

37. 5. Removal of arbitrage

38. 6. Distributors as the arbiter of value

39. 7. Vehicles that enabled the by-pass of
the traditional system

40. All of which is giving rise to new models of
production, distribution, and procurement

41. As a result:
‣ OMD launches Final Front
‣ VICE Acquires Carrot; Droga 5 + WME
‣ Poptent has a Budweiser spot in the World Series
‣ Complex powers pepsi.com @ 30x content pieces/wk

42. Inevitably altering the economic landscape
of our industry as creative product
becomes more and more democratized...
!
and commoditized

43. Publishers can create faster, cheaper,
and more frequently

44. With a built-in, established audience
for content distribution

45. Meanwhile, platforms are telling brands
to invest heavily in content production

46. Because “you, brand, have
a content manufacturing
problem on your hands”

47. So get a publisher to help
produce content for you

48. And use our targeting tools to get the
right message to the right audience

49. While all that is happening,
this is also taking place...

50. And this...

51. And this...

52. And this...

53. While the old guard
carries-on with the false
perception of control

54. They commission it

55. They conquest it

56. Which only exposes the fact that
they are simply the middleman

57. With content creation and “ideas” in
abundant supply, the command for
historical premiums just don’t make
economic sense

58. And before long, brands will start
asking questions like...

59. Is this one really “better”
than that one?

60. Why would I limit my supply
line artificially?

61. Why am I spending so much money?

62. And agencies will be stunned
once brands start reevaluating
scopes and FTE’s, accordingly

63. New seating charts at
“family dinner”

64. ACT II
THE MISDIRECT

65. But while everyone’s
talking content…

66. Clients actually want ‘action’

67. As marketers, that’s really
what we want also, right?

68. So much so that behavioral
norms are established

69. Like Corona with a lime

70. Or propose with a diamond

71. The focus then is to satisfy
the conditions that
catalyze cultural contagion

72. ACT III
THE SOLUTION

73. “MEME”

74. “OUT THERE”

75. “EVERYBODY”

76. “BUZZ”

77. “TRENDING”

78. “EARNED”

79. “VIRAL”

81. Source: Youtube Insights 2013

82. Source: Youtube Insights 2013

83. Source: Youtube Insights 2013

84. Source: Youtube Insights 2013

85. Source: Youtube Insights 2013

86. IN JUST OVER 2 WEEKS.
Source: Youtube Insights 2013

87. HOW???

88. THE VIRAL ACCELERATION OF “THE HARLEM SHAKE”
EXPOSEDPOPULATION
JAN. 30TH
College student
creates a video
FEB. 2ND
A few kids recreate it
in Australia & Orlando
FEB. 3RD
Thanks to the Super Bowl,
the marketing community
gets thirsty for the next
big thing in social media
FEB. 7 TH
Maker Studio sees
opportunity, creates a
version, and promotes
it across their Youtube
channels and Twitter
FEB. 8 TH
EDM blogger,
@EDMsnob, sees the
video, notices the song,
and tweets it with an
@mention to Baauer
Baauer, Diplo, and
the Mad Decent
label tweets and
promotes the video
FEB. 10TH
Buzzfeed and College
Humor sees the
video picking up so
they create and
promote their own
FEB. 13TH
Brands create and share
their own versions
Mass adoption ensues

89. ONE MIGHT ARGUE THIS WAS LIKE “CATCHING LIGHTENING IN A BOTTLE”
WHERE DIFFERENT PARTIES TOOK ADVANTAGE OF A SERENDIPITOUS OPPORTUNITY

90. WHAT IF I TOLD YOU
THERE WAS A WAY TO PLAN FOR THIS

91. Instead of throwing
spaghetti at the wall
and seeing what sticks

92. BACK TO THE HARLEM SHAKE…

93. 5 CONDITIONS CRITICAL TO THE GROUNDSWELL OF THE HARLEM SHAKE
AND SEEN IN MOST PHENOMENA THAT CATCH ON IN CULTURE
THE IDEA THEMATIC ITERATION PUBLIC PROGRESS BARAPPROPRIATE “MESSENGER” FERTILE CONDITIONS

94. WE’VE SEEN THIS DYNAMIC HAPPEN IN NATURE AS WELL
WHEN WE CONSIDER CONTAGION THROUGH THE EYES OF AN EPIDEMIOLOGIST
THE ACTUAL VIRUS THE PERFECT CARRIER STRAND MUTATION CONTROLLED AIRSPACE
TOGETHER, THESE CONDITIONS CREATE THE PERFECT RECIPE FOR CONTAGION
THE RIGHT SEASON

95. THE SAME GOES FOR A SOCIAL EPIDEMIC
WHERE IDEAS, BEHAVIORS, MESSAGES, AND PRODUCTS DIFFUSE THROUGH A POPULATION
TOGETHER, THESE CONDITIONS CREATE THE PERFECT RECIPE FOR CULTURAL CONTAGION
CONTENT
THE IDEA
CREDENCE
APPROPRIATE “MESSENGER”
COVERS
THEMATIC ITERATION
CO-INCENTIVES
FERTILE CONDITIONS PERCEIVED UBIQUITY
CONCURRENCE

96. THE CONTAGION COOKBOOK
COLLECTIVELY, THESE PRINCIPLES ARE REFERRED TO AS
CONTENT
THE IDEA
CREDENCE
APPROPRIATE “MESSENGER”
COVERS
THEMATIC ITERATIONS
CO-INCENTIVES
FERTILE CONDITIONS
CONCURRENCE
PERCEIVED UBIQUITY

97. This was a discovery,
not an invention

98. INVITED TO PARTICIPATEAUDIENCE AT THE CENTER
TRUE TO BRAND
SOURCE THEY TRUST PERSONALLY INVESTED SOCIALLY INCLUDED
CULTURALLY LICENSED ENABLES DIVERSITY PERCEIVED UBIQUITYSETS THE TABLE
COVERS CONCURRENCE
THE CONTAGION COOKBOOK:
CONTENT CREDENCE CO-INCENTIVES

99. Let’s unpack this

100. CONTENT:
Objects designed to inspire action.

101. THESE “OBJECTS” AMOUNT TO MORE THAN JUST ART + COPY
BRAND COMMUNICATION IS MUCH MORE THAN MESSAGING

102. THESE “OBJECTS” SHOULD BE BUILT TO SHARE
LEVERAGING BEHAVIORAL SCIENCE TO PIN POINT CONSISTENT FACTORS OF CONTAGIOUS CONTENT
1. Generates social currency: we share things that make us look good
!
2. Evokes emotion: “this is unbelievable, you have to see this!”
!
3. Provides utility: practical value that taps into our intrinsic need to help other people
!
4. Tells a story: facts we forget, stories we retain and retell

103. CONTENT CREATION
CONTENT
AUDIENCE AT THE CENTER
TRUE TO BRAND
CONTENT CREDENCE COVERS CO-INCENTIVES CONCURRENCE
BLENDTEC: WILL IT BLEND?

104. CREDENCE:
Transferable cultural authority and/or trust.

105. Online
banner ads
33%
Online
video ads
36% Ads on
social
networks
36%
Ads
served in
search engine
results
40%
TV
program
product
placements
40%
Before
Movie !
Ads !
41%
Radio !
Ads!
42%
Newspaper
Ads
46%
Billboards
& outdoor Ads
47%
TV
Ads
47%
Magazine
Ads
47%
Branded
websites
58%Editorial
Content
58%
Consumer
opinions
posted online
70%
Recommendations
from people I know
92%
Display
ads on mobile
devices
33%
Emails I
signed up for
50% Brand
Sponsorships
47%
Source: Neilsen: Consumer Trust in Online, Social
and Mobile Advertising Grows - htt;p://ctap.it/peerinfluencer4
TRUST ISN’T GIVEN TO JUST ANYONE, OF COURSE
WE ARE ESPECIALLY INCREDULOUS WHEN IT COMES TO MARKETING

106. CULTURAL AUTHORITY CAN BE TRANSFERRED FROM SOURCE TO RECIPIENT
SOURCES ARE AWARDED AUTHORITY CONDITIONALLY, WHEN:
1. Impartiality: apparent absence of bias
!
2. Expertise: acknowledged mastery of subject matter
!
3. Proximity: accountability via persistent relationships

107. ESTABLISHING CREDENCE
CREDENCE
SOURCE THEY TRUST
CULTURALLY LICENSED
CONTENT CREDENCE COVERS CO-INCENTIVES CONCURRENCE
THE JCER: THE GREAT SCHLEP

108. Covers:
The repeated expression of an idea through
derivative works.

109. WE KNOW THIS INTUITIVELY, THE NOTION OF DERIVATIVE WORKS
ESPECIALLY AS IT PERTAINS TO MUSIC COVERS

110. INVESTMENT IN CREATIVE DIVERSITY IS WELL SPENT
AND THERE’S A LOT OF WAYS TO DO THIS
1. You create many: broad creative diversity made by the brand/agency
!
2. You commission many: invite partners to iterate upon your idea
!
3. You inspire many: relinquish for public participation

111. ENABLING COVERS
COVERS
INVITED TO PARTICIPATE
ENABLES DIVERSITY
CONTENT CREDENCE COVERS CO-INCENTIVES CONCURRENCE
FACEBOOK: PERSONALIZED ANNIVERSARY VIDEOS

112. CO-INCENTIVES:
The environmental dynamics which can’t be
controlled but can be exploited.

113. VESTED INTERESTS ARE EVERYWHERE
AND WHEN LEVERAGED PROPERLY, CREATES A WINNING PROPOSITION FOR ALL PARTICIPATING PARTIES

114. THIS IS MORE THAN ESTABLISHING STRATEGIC PARTNERSHIPS
ALL OF WHICH CREATE EXCITING OPPORTUNITIES IN CREATIVE DEAL-CRAFT
PRODUCTION
DISTRIBUTION
WILD CARD

115. IDENTIFYING CO-INCENTIVES
CO-INCENTIVES
PERSONALLY INVESTED
SETS THE TABLE
NETFLIX + DAVID FINCHER + BEAU WILLIMON: HOUSE OF CARDS
CONTENT CREDENCE COVERS CO-INCENTIVES CONCURRENCE

116. CONCURRENCE:
The apparent ubiquity of an idea.

117. CREATE THE SENSE THAT “EVERYONE IS TALKING ABOUT IT”
THOSE WHO KNOW WILL FEEL “IN THE KNOW” AND THOSE WHO DON’T WILL WANT TO KNOW
“TWERKING”
“THE RED WEDDING” “THURSDAY NIGHT SCANDAL”

118. TO ACHIEVE THIS, THERE ARE 3 KEY ELEMENTS TO CONSIDER
ALL OF WHICH ARE CRITICAL FOR ESTABLISHING AN ENVIRONMENT THAT FOSTERS CONCURRENCE
1. All ubiquity is feigned: there’s no such thing as “everybody”
!
2. The greeks knew best: create theater in the round
!
3. Concurrence is the principal: reach is the interest

119. CASTING FOR CONCURRENCE
CONCURRENCE
SOCIALLY INCLUDED
PERCEIVED UBIQUITY
CONTENT CREDENCE COVERS CO-INCENTIVES CONCURRENCE
MOVEMBER FOUNDATION: GROW A STACHE

120. INVITED TO PARTICIPATEAUDIENCE AT THE CENTER
TRUE TO BRAND
SOURCE THEY TRUST PERSONALLY INVESTED SOCIALLY INCLUDED
CULTURALLY LICENSED ENABLES DIVERSITY PERCEIVED UBIQUITYSETS THE TABLE
COVERS CONCURRENCE
THE CONTAGION COOKBOOK:
CONTENT CREDENCE CO-INCENTIVES

122. THANKS!
Marcus Collins
@MarcToTheC