Street Smart Advertising: How to Win the Battle of the Buzz

Citation

Wolburg, J.M. (2012), "Street Smart Advertising: How to Win the Battle of the Buzz", Journal of Consumer Marketing, Vol. 29 No. 4, pp. 311-312. https://doi.org/10.1108/07363761211237399

In Street Smart Advertising: How to Win the Battle of the Buzz, author Margo Berman wastes no time charging marketers with taking the pulse of the culture. If their goal is success, she calls upon marketers to listen to “the language of the street” and learn “what's hot, what's making a stir, what's all the rage, and what's getting talked about” (p. 1).

The initial chapter offers tips on ways to learn what is hot by visiting creative web sites, sharing ideas on social media sites, and generally immersing oneself in all aspects of the culture. Berman follows with solid examples of breakthrough thinking, including campaigns for Burger King's “Subservient Chicken” and MINI Cooper's “Counterfeit.” By the end of the first chapter, the reader has such a strong foundation for exploring out‐of‐the‐box solutions to marketing problems that, when the subsequent chapters turn to design elements such as typography and use of color, the reader may experience a temporary disconnect. Yet, Berman skillfully manages the transition by convincing the reader that innovation comes by using existing ideas in novel ways. Thus, she focuses our attention on the long‐standing truths about design that still hold – even in an era when marketers are expected to “rev up” their thinking with new ideas.

Berman begins the journey by taking readers through the nuts and bolts of how typography changes the mood and feel of the message. Chapter 2 goes into great depth in identifying differences between fonts and explaining how these differences not only affect legibility and readability but give personality to the message. The chapter also identifies certain color combinations for their level of legibility (e.g., black letters stand out on a yellow background whereas yellow letters fade in on a pink background). Chapter 3 takes readers a step farther and notes when to break the rules. Normally, legibility and readability are key elements of design, but there are times when designers intentionally make the type hard to read in order “to create tension, add energy, or drive the eye across the page” (p. 50). The real take‐away from this chapter is that type is not just a stylistically way to write a message but it is part of the overall layout. Berman notes that great layout artists “integrate typography into the gestalt of the layout” (p. 62).

In later chapters, Berman moves away from typography and focuses on other design elements and principles. For example, Chapter 4 addresses the elements of format and media, line, shape, color, texture, and value, whereas Chapter 7 focuses on balance, emphasis, rhythm, unity, and proportion. In the discussion of balance, Berman notes that it is possible to attain balance through either symmetrical or asymmetrical design; however, it usually requires greater skill to achieve good balance with an asymmetrical layout.

Other chapters turn to writing and campaign strategies. Chapter 5 addresses various types of headlines and slogans, as well as the differences between product benefits, features, and values. Along the way are interesting applications, such as the Ad Age's Top Ten Slogans of the Century with “Diamonds are Forever” as the number one choice.

Chapter 8 presents a fascinating examination into the use of color, not only when applied to American advertising but also across other cultures. In the United States, it is no surprise that red is associated with love, passion and romance, but Berman explains that red also stimulates the appetite and is used on many restaurant menus and in food advertising. In other countries, red is the color of wedding gowns and celebratory events. Of interest is the fact that Americans regard blue as a color that signifies tranquility, serenity, stability and trust, while Scandinavians regard blue as evil. We learn that in Scandinavian countries, Little Red Riding Hood wears blue instead of red!

The remaining chapters apply the principles developed in earlier chapters. Chapter 10 uses a case study approach to demonstrate innovative thinking, with examples centering upon Volvo, Subway, Aflac, Clairol Herbal Essences South Auckland Health Foundation, Lexus LS430, Pedigree, and the American Legacy Foundation's “truth” campaign, among others. The cases not only identify the problems that were solved through advertising but also showcased the logic. For example, the agency creatives knew from research that the “truth” campaign “[…] had to make the act of not smoking just as rebellious as smoking. We wanted to direct teens' natural desire for rebellion at the manipulative tobacco industry. So our message became industry manipulation – depicting a real, manipulative, adult institution that is worthy of rebelling against” (p. 198, quoting Sarah Howard in a personal communication from 2005).

Berman closes with a chapter on tips from conceptual thinkers. One of the most memorable comes from David Ogilvy on recognizing a big idea when you see one (p. 221).

1. 1.

   Did it make me gasp when I first saw it?

2. 2.

   Do I wish I had thought of it myself?

3. 3.

   Is it unique?

4. 4.

   Does it fit the strategy to perfection?

5. 5.

   Could it be used for 30 years?

Yet, my two personal favorites come from Bob Isherwood's list of 13 (p. 226):

1. 1.

   People out there are not waiting to hear from you.

2. 2.

   You haven't had your best idea yet.

Street Smart Advertising: How to Win the Battle of the Buzz brings the subject of street smart advertising to life. It not only offers a knowledge set but each chapter provides exercises to develop skills. The book offers many ideas found in standard creative textbooks but gives it a level of sophistication that can appeal to professionals and professors. All in all, it is a fun, informative read.