Page 1

KIM BASINGER MADE ME DO IT

by tomas karabatsos

final review

05/05/2014 graduate school of advertising


KIM BMA ASINGER DE ME DO IT a portfolio

of strategy in

advertising by

thomas karabatsos


Contents

Personal profile Biography Resume 6

Strategy

Sonic audit

Inkling

Porsche

Basic Instinct

12

48

72

Essay


Personal Plan 114

Artist profiles

R.E.M. Lana Del Rey 80

Case studies

Essay

The Fat Team

Badalamenti & Lynch

98

106


6 _ Personal profile

Biography Those who live in Los Angeles know there is one golden rule when meeting a celebrity: you can not act like a fan. Yet, when I saw Kim Basinger, then 49, walking the red carpet at the Westwood premiere of her movie 8 Mile, I refused to pass the opportunity to shout a smitten “I love you� at the notoriously shy actress (she is agoraphobic). After all, she had changed my life for the better, way back in the days when I first saw her hiding her blonde locks behind the Gotham Gazette, her legs resting on a desk in the movie Batman.


7 _ Bio

EDITOR

Sure, the batclaw was amazing, but what took me back to the video store every Wednesday after that was Kim. My eight-year-old self needed to see everything she was in. Life pre-IMDB wasn't easy. Figuring out Kim's filmography required that I flipped every VHS tape on display at my two-story video store. I checked all the pictures and all the names mentioned on all the back cover of all the movies. I soon became a landmark of the video store. In a matter of months, I had acquired knowledge of every movie, and had figured out the store's various classification systems as well as all the promotional tricks used by movie distributors. I had processed a large amount of data, identified patterns and edited everything down to what mattered the most: movies with Kim Basinger.

STORYTELLER I long ignored the multitude of films that didn't promise me a sight of my dear Kim. However, after seeing My Stepmother Is an Alien for the 14th time, I finally resigned to expanding my horizons. I discovered Alfred Hitchcock, Luis Bu単uel, David Lynch and Gregg Araki. Shortly after my beloved video store ran out of business, I flew to Los Angeles to myself become a movie director. I studied how to build narratives, how to support them with visuals and music, and how to focus on a core message. Admittedly, my favorite part of directing was figuring out how to extract the best possible performances out of my actors.

SOLUTION PROVIDER Life then took me to Madrid. I had Spanish grandparents but somehow my early love for Hollywood had blinded me from ever discovering their home-country. I chose the destination without work plans so I had to improvise to make ends meet. I worked in a series of bars while learning that, in Madrid, "Madrid" is not "MadriD" but "Madrisss". It's while working at one of those bars that I met Lula, a lovely Punky Brewster lookalike who offered me my first job in event management. This is how I learned to elaborate wellstructured plan As, creative plan Bs, and reactive plan Zs - by working for an international beach festival of more than 50,000 people in the land of siesta and postponement.

BIG PICTURE THINKER

Since I moved in different directions professionally, I consider myself a jack-of-all-trades. However, while studying Creative Strategy at the Academy of Art in San Francisco, I realized that those seemingly different activities had developed in me a certain expertise. Whether it's directing on a movie set, coordinating events or elaborating ad campaigns, I am a big picture thinker who constantly investigates the "hows" and "whys" of a given situation in order to paint the picture I want to paint. This quality added to my experiences sums up to specific skills that I am presenting here in the following projects.


8 _ Personal profile

2007 - 2010

BERLIN

5

6 2

SAN FRANCISCO LOS ANGELES

2010 - present

BIARRITZ

4 NEW YORK CITY

2005 - 2007

2002 - 2004

284 Gold Mine Drive, San Francisco, CA 94131 (415) 490-8770 thomak.bt@gmail.com

birth - 2002

3

1

START HERE

MADRID

2004 - 2005


9 _ Resume

storyteller

editor

solution provider

big picture thinker

strategy

qualitative research

RESUME

Thomas Karabatsos CREATIVE STRATEGIST

event management

film/photography


10 _ Personal profile

WORK EXPERIENCE RESEARCH ANALYST, FREELANCE Led qualitative research for a popular mobile application which involves use-case scenarios and competitive analysis (project currently under NDA). Reference available upon request.

01/14 - present

6

BRAND AND SOCIAL MEDIA STRATEGIST AT YYLPR, INTERN Developed a brand strategy for YYL Public Relations, including the definition of the company’s USP, mission statement, philosophy and tone. Created and designed a brand book. Management of social media for YYLPR’s clients. 02-05/13

6

PHOTOGRAPHER - http://www.thomaskaah.com Awarded by a 12-page spread around the theme of greed published in “Anthology der Gier”, an art book by German publisher Michason & May. 2009 - present

5 6

EVENT MANAGER AND PRODUCER, FREELANCE Misc. positions including art gallery intern for Tape Modern, Berlin, and associate producer for Programa Especial, TV Brazil. 2005 - 2011

4 5 6


11 _ Resume

MISC. COORDINATOR AND DIRECTOR OF EUROPEAN PROJECTS’ ASSISANT AT FIBHEINEKEN / MARAWORLD In charge of the international and national organization and promotion of the project UnPop Classik, as part of Spain’s #1 music festival. 3

2005 - 2006

frenc h english spanish german

native

SKILLS Adobe CS6, Final Cut Pro, Adobe Lightroom, Wacom board. Storyboarding, bartending, on-camera presenting, language tutoring, styling, making my way into big crowds.

EDUCATION

ADDITIONAL COURSES Presenting Data and Information Course by Edward Tufte (2013)

MFA ADVERTISING Majoring in creative strategy. Academy of Art University present

6

FILM, TV & ENTERTAINMENT MEDIAS Certificated program. Majored in Directing. UCLA

06/04

2

B.A. IN MARKETING Université de Pau et des Pays de l’Adour 06/02

1

HOBBIES Fitness, breakfast, film noir, scenic drives, endless-scroller on Tumblr.


12

_

Strategy


13 _ Inkling

INKLING Repositioning & Social media strategy TYPE OF PROJECT School assignment

THE PROJECT

CLASS ADV 267_01 Creative Strategy 2

This assignment took five weeks to complete. The goal was to select a product that we knew was underperforming and to devise a strategy that would help to boost sales.

INSTRUCTOR Magali Charmot DELIVERABLE 28-PAGE Deck TAG LINE "Map Out a Better World" SEMESTER Spring 2013

I chose the Inkling by Wacom. It's an ink pen that records a digital rendering of everything one draws on paper. For its launch, the Inkling was positioned as a roughconcepting tool for designers. After extensive research, I decided to reposition the pen as a brainstorming tool for visual thinkers (which is now the positioning adopted by Wacom). I then elaborated a social media strategy meant to help establish this new positioning to a new audience.


14 _ Strategy

THE REAL CHALLENGE As someone who likes to sketch on paper, the Inkling was a product that I had been curious about for little while - so I took advantage of this assignment to acquire it. I was quickly disappointed by it, and so was everybody else. How could I give a second life to a product that had already notoriously flopped? My research, summarized in the following pages, led me to investigating visual thinking - a phenomenon that I identified as an opportunity for the Inkling. I needed to become an expert on the topic in order to define who the Inkling was going to reach and how.

HIGHLIGHTED SKILLS Research, insightfulness, editing, storytelling, strategic thinking.


15

_ Inkling


16 _ Strategy

Situation Analysis


17 _

The Inkling by Wacom is a digital sketch pen that captures a digital likeness of your work while you sketch with its ballpoint tip on any sketchbook or standard piece of paper. Designed for rough-concepting, Inkling is ideal for the front end of the creative process.

PRODUCT STRENGTHS - - - - - - - - -

Portable and wireless Sketches on paper Sturdy build quality Intuitive design Ability to add layers Self-contained charging case Compatible with PCs and Macs Exports to a wide variety of formats Allow resizing and editing without quality loss

PRODUCT FLAWS - - - - - - - - -

No erase function Direct sunlight interferes with the receiver Strokes farther from the center lose accuracy Strokes far from the receiver might not record Strokes might not be recorded if there is an obstruction between the receiver and the pen tip (most likely a misplaced finger) Files can initially only be opened using the Inkling Sketch Manager software The Inkling Sketch Manager may inadvertently open at login for Mac users Limited time lapse feature

Inkling

Announced on August 30, 2011 Released early in 2012, the device is priced US$199


18 _ Strategy

THE COMPETITION Inkling is the first and only digital pen* on the market that allows one to draw on paper while recording an editable vectorial rendering of the drawing. Since Wacom the market leader of graphic tablets, most of the direct competition comes from within the company. Wacom is a standard in the graphic industry and most professionals would not consider another brand. WACOM BAMBOO TABLETS

Pros Cheaper ($79 - $199), well-known, easy to use Cons Requires a computer to function, not portable, known as “amateur tablets�.

WACOM INTUOS TABLETS

Pros More functions, more accuracy, produces finished designs BY WACOM

* At time of research

Cons Expensive ($229 - $789), requires a computer to function, not portable, requires extensive design skills.


19 _ Inkling

TRUST FLEX ULTRA THIN DESIGN ($31) PROS Cheap, mobile Cons Lack of accuracy, not to be considered by professionals.

GENIUS G-PEN TABLET ($136) Equivalent to the Bamboo line by Wacom.

AIPTEK SLIM TABLET ($78) PROS Slim Cons Entry-level sketching, lack of accuracy.

BOOGIE BOARD LCD WRITING TABLET ($40.70) PROS Makes taking notes easy Cons Limited to taking notes

Indirect competitors to consider Non-graphic tablets (Ipads, etc.), sketchbook, pencils and pens, graphic software (Adobe CS6 etc.).


20 _ Strategy

SWOT ANALYSIS

STRENGTHS Comes from the international leader on the graphic tablet market, Wacom. Is the only digital pen on the market that allows people to sketch on paper while producing a vectorial, layered and editable rendering at the same time. Is portable: allows people to capture their ideas on the go and to sketch digitally without using a computer. Is well-designed and convenient: everything fits in a small black case. Is universal: works on Mac and PC and exports to various file formats. Is intuitive.

OPPORTUNITIES Has only had minimal advertising (print campaign). Can appeal to both, professional users and occasional users. Can appeal to creative note-takers. Can appeal to people who are reluctant to draw on a graphic tablet. Rides the wave of “taking the online offline�. Has no direct competition.


21 _ Inkling

WEAKNESSES Is an experimental product. No similar product was ever commercialized before and users will discover its pros and cons as they use it. Is expensive for a rough-concepting tool. Is relatively heavy. Has mixed reviews from professional publications. Has an excessive amount of negative reviews on most online retailers, including Wacom.com Is not available in most local retailers. Current users are still waiting for an update that would fix current technical issues.

THREATS The name “Inkling� is already used by a digital publishing company. Does not have a clear positioning: advertises high accuracy while presenting it as a rough-concepting tool. Could be abandoned by the company if market proved to be too small.


22 _ Strategy

THE PROBLEM Inkling had failed to find a following and suffered from a negative buzz amongst graphic designers.

Inkling was introduced on the market as a roughconcepting tool for graphic designers. The advantage was that it is both intuitive and digital. When launched, it was the only pen of the kind (numerous competitors have since then come out on the market, like Livescribe’s Smart3pen). Indirectly, the product was competing with graphic tablets, portable tablets, scanners, pens and other devices, but it did fulfill a very specific need the other products didn’t fulfill. The disadvantage was that, since it was the first product of its kind, it was at an experimental stage. A few technical glitches had been widely reported over the Internet, which gave the product bad ratings and discouraged potential users from buying it.


23 _ Inkling

competition graphic tablets?

Inkling

rough-concepting tool

Pros

intuitive & digital

only one on the market

tablets? scanners? pens?? indirect competition

Cons

experimental products

PROBLEM

technical glitches

negative reviews

failed to find a following negative buzz amongst graphic designers


24 _ Strategy

PRIMARY RESEARCH


25 _ Inkling

RESEARCH - PHASE 1 In order to come up with a solid strategy for the Inkling, I first focused on trying to identify the specific needs that the Inkling satisfied for designers. I created a discussion guide that helped me interview two types of potential users: design professionals and design enthusiasts.

TYPE OF RESEARCH 1-on-1 interviews, product testing. SAMPLE 4 design professionals and 7 design enthusiasts.

Each interview consisted of:

1- Asking question guide questions 2- Testing the product 3- Gathering impressions


26 _ Strategy

PROFILE #1 The design professional Age 25-34 Gender Male and female Education Graduate degree and over Occupation Digital art, character conception, film, special effects, fashion, photography and industrial design

What we know about them Our target has been using digital graphic tools for a long time. They are well-skilled and pick up on new technology very quickly. They spend a lot of time working on computers and enjoy their free time to go out and get inspired. They are always trying to find ways to capture inspiration as it comes, whether by keeping a notebook around, an audio recording, or by taking pictures and videos with their smart phones.


27 _ Inkling

Name/Age/Occupation/Location • • •

How do you define your occupation? What is your definition of design? What makes good design?

• What inspires you? • What rituals do you put yourself through in order to find inspiration? • What tools do you use to design? • What part does sketching play in your design process? • What tools do you use to sketch? • Do you sketch on paper or on a computer? • How different are designing on paper and designing on a computer? • What things can you do on paper that you can’t do on a computer? • • • •

Have you ever used a graphic tablet? What do you use a graphic tablet for? What do you like about using a graphic tablet? How do you go about choosing your tablet?

(after trying Inkling) • Did you know about Inkling? o No: Next question o Yes: How did you hear about it? • What are your impressions? • At what stage of your usual process would you see it the most useful? • How much would you be willing to pay for it?

above

Discussion guide for deign professionals.


28 _ Strategy

below

Discussion guide for deign enthusiasts.

Name/Age/Occupation/Location • • o o • be? o o

Tell me about your occupation? Do you have to be creative for your job? No: Next question Yes: How? What kind of a creative person do you consider yourself to No: Thank you, goodbye. Yes: How do you cultivate and express your creative side?

• How often do you sketch? • What do you sketch? • How does sketching help you? • What do you use to sketch? • What do you do with your sketches once you are done with them? • Do you ever use your computer to follow up work that you have started on paper? • o o • • yourself • o o

Do you use a computer for creative purpose? No: Next section Yes: How? What computer programs do you use for creative purposes? How is expressing yourself on paper different from expressing on a computer? Have you ever considered a graphic tablet? No: Next question Yes: What happened?

(after trying Inkling) • Did you know about Inkling? o No: Next question o Yes: How did you hear about it? • What are your impressions? • How do you think the Inkling would be useful to you? • How much would you be willing to pay for it?


29 _ Inkling

PROFILE #2 The design enthusiast Age 25-34 Gender Male and female Education Graduate degree and over

What we know about them Our target is urban and has many interests. They are overall educated and whether they have a corporate job or work freelance, they show a general interest in arts. They socialize with people from different backgrounds and professions. They go to museums, gallery shows and concerts. They use technology as part of their daily routine although they are not necessarily too savvy when it comes to it. Our target is aware of trends and tries to follow them, whether they are fashion trends or technological trends. More importantly, our target is creative. They are visual people who like to draw, sketch, and put ideas down on paper, mostly for their own pleasure and self-expression. They are not used to using a graphic tablet or design software but are interested in keeping a memory of their sketches other than on paper.


30 _ Strategy

My research into designer use of the Inkling unfortunately confirmed what I already knew. Designers mostly use scanners to turn sketches into digital files. Some of my interviewees had graphic tablets but rarely used them. Upon trying the Inkling, they all raised technical issues that made the pen too unreliable to depend on professionally. My interviews with design enthusiasts were not taking me much further until two of them, both students, mentioned that the Inkling would be a great tool to take notes. They mentioned the concept of sketching notes while brainstorming, which I found interesting. They saw in the Inkling an opportunity to break away from the linearity of the notebook to think more visually.

Is there such a thing as visual thinkers? Could the Inkling be a brainstorming too for visual thinkers?

INSIGHT


31 _ Inkling

RESEARCH - PHASE 3 Additional secondary research confirmed that visual thinking was a movement, and that it was gaining global interest - which I identified as a great opportunity to reposition the Inkling. I knew 1 visual thinker that I could interview but I needed more. Luckily for me, Edward Tufte, a pioneer in data visualization, was coming to San Francisco for a seminar. I attended and, in addition to insightful information on the process visual thinkers go through, I managed to interview two other visual thinkers. The goal of those interviews was to identify how the Inkling could benefit the process of thinking visually. TYPE OF RESEARCH 1-on-1 interviews, product testing, seminar. SAMPLE 3 visual thinkers for 1-on-1 interviews.

Each interview consisted of:

1- Asking question guide questions 2- Testing the product 3- Gathering impressions


32 _ Strategy

PROFILE #3 Visual Thinkers

Who are the visual thinkers? Visual thinkers visualize information before they process and communicate it. They use a part of the brain that is emotional and creative in order to organize information in non-linear ways. They often feel the need to map out ideas in order to get a sense of the big picture and its smaller components. There are visual thinkers everywhere, of different age, gender and occupations. Most visual thinkers do not even know they are visual thinkers, which makes it hard to identify them. What usually gives them away, however, is their attachment to their pen.

Subgroup #1 Undergrad and graduate students, male and female, 18-27 y.o. Subgroup #2 Professors and researchers, male and female, 35-44 y.o.


33 _ Inkling

Name/Age/Occupation/Location • • basis? • • •

Tell me about your occupation? Does your job require you to solve problems on a daily Are you frequently required to “think outside of the box”? Do you ever find it hard to explain an idea with words? Do you ever refer to visuals to better express an idea?

• How do you express an idea that you are struggling to express with words? • How important is the use of visuals for you to understand and convey an idea? • What type of visuals do you most often rely on/. • What are the different ways of taking notes that you use? o Do you ever map out ideas? o Do you ever freewrite? • •

How does sketching help you in your creative process? What tools do you use to sketch and take note?

• Do you rely on paper or on computers the most in order to take notes? • What does paper allow you to do that a computer can’t? • What does a computer allow you to do that paper can’t? • Do you ever scan your notes? o Next question? o What do you do with your notes once scanned? • Have you ever considered a graphic tablet? (after tring Inklingl) • Did you know about Inkling? o No: Next question o Yes: How did you hear about it? • What are your impressions? • Do you think Inkling could help you solve problems visually? • Would you consider getting it? o Yes: Next question o No: Why not? • How much would you be willing to pay for it? above

Discussion guide for visual thinkers


34 _

sketch

pictures

v familiar tool v portability

v instant archiving

form

the big picture

archive/organize your sketchnotes

v prevents loss v instant sharing v endless digital canvas

v endless digital tools (exportability)

synthesize your theories

develop/edit solutions

v familiarity v portability v instant sharing

ABOVE This diagram demonstrates how the Inkling can help visual thinkers in the note-taking and brainstorming process. The column on the left lists the 3 main steps of thinking visually. Each of those steps implies certain actions (middle column) that can effectively be simplified by the features of the Inkling (right column).

how Inkling improves the process

visual thinking process to solve problems

Strategy

capture

the multi-faceted ideas

v spontaneous sketching


35 _ Inkling

RESULTS As a result of my primary research, I managed to establish how the Inkling could help visual thinkers design their sketchnotes. The following 6 qualities stood out as the most interesting:

SPONTANEOUS SKETCHING Inkling feels like a real pen because it is one, which means people can focus on what they are thinking and sketching instead of trying to adapt to a digital tool. INSTANT ARCHIVING AND SHARING Whether sketching on a notebook or a napkin, every stroke is instantly stored in the Inkling’s memory. This prevents losing notes and makes sharing instant and digital. THE ENDLESS CANVAS Inkling allows people to create layers as they sketch in order to capture different ideas on different panels. Once transferred on a computer, those ideas (nodes) can easily be moved around, resized, edited, imported and exported in order to form the big picture. There is no spatial limit as to what one can do. PERSONALIZABLE EDITING TOOLS Inkling allows people to benefit from features from their favorite software in order to organize and edit their ideas. Colorizing, resizing and replacing can all be done digitally and none of it is permanent. TRANSPORTABILITY Inkling is not just transportable in the sense that it is a small pen people can easily carry everywhere. They can also carry entire concepts with it.


36 _ Strategy

STRATEGY

Inking, turn small ideas into big pictures.


37 _ Inkling

PROBLEM Inkling failed to find a following and suffered from a negative buzz among graphic designers. INSIGHT Inkling addresses the many needs of a community that has long been ignored, visual thinkers. WHY WE CARE Visual thinkers are heroes. They solve tough problems creatively. WHO SHOULD CARE American graduate and undergraduate students. School and university professors. GOAL To reposition the Inkling as a brainstorming tool for visual thinkers. NEW USP Inking, turn small ideas into big pictures. CAMPAIGN A social media campaign that promotes visual thinking as a way to solve problems visually while establishing the inkling as the best tool for visual thinking.


38 _ Strategy

SOCIAL MEDIA CAMPAIGN Map Out a Better World is a social media campaign that invites people to use visual thinking in order to solve problems creatively. This will be done through Facebook, Tumblr and Twitter.


39 _ Inkling

primary target undergraduate and graduate students US v they take notes on paper, but work on computers v they need to see something to understand it v they need a quick way to take extensive notes v they always go back to their notes to edit them and need an effective way to do so v they need a way to capture inspiration on the go

overall scope concept designers worldwide

secondary target professors and school/university teachers US v they believe our educational system need to change to focus more on creativity v they made their mission to expand their students' creativity v they believe there is not one, but many ways to solve a problem v they want to train their students to develop a personal sense of intuition v they want their students to resist the urge to start their work directly on a computer


40 _ Strategy

PHASE 1 - ESTABLISHING INKLING’S NEW POSITIONING

THE WEBSITE The website will open with a video of the product explained by a visual thinker, highlighting product features and how users benefit from them. The video will be followed by a section on visual thinking that explains what it is and why it is important. This section will also offer quizzes allowing people to test their ability to think visually, and exercises to condition their brain to do so. Next is a product page with a detailed product description and options to buy. There is a student/school section that is accessible with a student ID . It offers the Inkling at a discounted price and allows schools to place bulk orders. THE FORUM We will also create a forum where people can share tips on the Inkling and upload their visual notes. This will be a great way to create a community around both, visual thinking and the Inkling. VIMEO In addition to the website, we will create a Vimeo channel that offers tutorials on how to use Inkling.


41 _ Inkling

turn small ideas into big pictures

small ideas How to turn tures into big pic

VIMEO

v video tutorial about the different ways to use Inkling for visual thinking

How to best use Inkling

WEBSITE Sections v demo video v Visual Thinking: . what it is . can you think visually? (quiz) . train your visual thinking (exercises) v Inkling . product info . buy Inkling v student / school log in . student discount . bulk orders Main portal

help yourselves tur n small ideas into big pictures

FORUM

v share tips on visual thiking v share tips on Inkling v upload your sketchnotes A community of problem solvers

option: $199 $99 for students 30 Inklings for $2400


42 _ Strategy

PHASE 2 - CREATING A BUZZ ON SOCIAL MEDIA

We want our visual thinkers to: - feel that they have the power to solve problems creatively by thinking visually. -

learn how to do it by using the Inkling.

-

join a community of big-picture thinkers.

-

buy the Inkling.


43 _ Inkling

feel v I have the power to fix what I view as wrong v Could I capitalize on the power of visual thinking? v Can I think visually too?

learn

do

v What visual thinking is v What's happening in the world of visual thinking v How to think visually v What Inkling is v How to use Inkling to solve problems

v Reflect upon the problems I can fix v Share my sketchnotes and solutions v Buy Inkling

social media campaign "Map Out a Better World"


44 _ Strategy

Map out a better world

Send your inklings! what problem can we try to solve, using Inkling and visual thinking, in order to improve the way we live? #MapOutABetterWorld

FACEBOOK v What's happening in the world of visual thinking v TED-like videos: sir Ken Robinson, etc.

They are ma pping out a better wo rld!!

v current examples of visual thinking A resource on visual thinking

TWITTER Help us help you map out a better world

v Inkling updates

v addresses feedbacks v answers questions Interact with Inkling specialists

TUMBLR v best sketchnotes / maps / diagrams, etc. v timeline videos Collection of concepts

n to map It's your tur r world tte be a t ou


45 _ Inkling

CREATING THE SOCIAL MEDIA CHANNELS FACEBOOK The Facebook channel will be a resource on what is currently happening in the world of visual thinking. On the channel we will share relevant articles, inspirational videos and examples of visual thinking. TUMBLR On the visual platform Tumblr, we will share a collection of some of the best sketchnotes available, as well as timeline videos done with the Inkling. TWITTER Twitter will be the platform to interact with visual thinkers and customers.

LAUNCHING THE CAMPAIGN At the launch of the campaign, we will ask followers on all platforms to Map Out A Better World. We want people to submit problems that they think need solving, and to submit inklings, real inklings, on how to solve those problems. Problems addressed will range from how to see the most bands at Outside Lands to how to provide water to drought stricken countries. Each month we will select one problem from the various submissions and will feature it on the website and social media channels. We will then begin to receive solutions in the form of sketchnotes before selecting the most interesting ones for digital publication. The best concepts will later be featured on our social media channels, and forum. One selected winner will see his/her concept featured on the website’s landing page,


46

The diagram below shows how the website, forum and social media channels interact with each other after the launch of Map Out a Better World. below

_ Strategy

WEBSITE VIMEO

new homepage v Concept of the month v top 5 concepts

regular content

v vote for next month's problem to solve

FORUM

v publication of the best concepts v submit new inklings regular content

regular content

How to best use Inkling

A community of problem solvers

Main portal

turns small ideas into big pictures

Map out a better world

Choose a problem, send your inklings! #mapoutabetterworld

FACEBOOK v publication of the best concepts v submit new inklings

TWITTER Help us help you map out a better world

regular content

regular content A resource on Visual thinking

TUMBLR v publication of the best concepts v submit new inklings regular content

Interact with Inkling specialists

Collection of concepts


47 _ Inkling

v new positioning "TURN SMALL IDEAS INTO BIG PICTURES" v campaign launch "MAP OUT A BETTER WORLD"

week 1

TE

WEBSI

VIMEO

week 2 week 3

week 4 week 5 week 6 week 7 week 8

week 9 week 10 update

launch launch

OOK

launch

update

R

launch

update

FACEB

TUMBL

launch

ER

TWITT

FORUM

launch

update update

v update

. addition of the new homepage to the website . publication of selected concepts on social media . repeat call for submission of inklings

As seen on this social media calendar, the campaign should take two months to fully launch. After reaching our cruising speed, we will update social media daily and the website monthly. above


48

_

Sonic audit


49 _ Porsche

Porsche Sonic audit & creative recommendations TYPE OF PROJECT School assignment

THE PROJECT

CLASS ADV 499_02 Sounds of Brands, Brands of sounds

The class focused on the role of sound in media, and on the ways that brands have been using it, or could potentially use it, for strategic purposes.

INSTRUCTOR Marc Weidenbaum DELIVERABLE 46-PAGE Deck TAG LINE "Porsche. We've All Driven One Before."

"Porsche. The Sound of Your Imagination."

SEMESTER Fall 2013

This project took 3 weeks to complete. We were asked to conduct an exhaustive sonic audit of a product of our own choosing - aside from products inherently sonic. The goal was not only to study the role of sound in the use and experience of this product, but also to identify the other sounds that are somehow associated with the product, like a jingle or music played in the retail space. Ultimately, the goal was to make creative recommendations to the related brand for their new campaign to revolve around sound. I chose to study Porsche. I had my first experience driving a Porsche a few weeks prior to the assignment and remebered that the first thing that struck me was the sound of the exhaust - that deep rumble that transports you to a different era. In order to narrow my research, I chose to focus mainly on the sound of the Porsche 911.


50 _ Sonic audit

THE REAL CHALLENGE The first challenge was the evaluate the extent of my research. I had to consider as many angles and perspectives as possible. It took me 5 days to brainstorm all the ways that sound becomes a part of the Porsche experience, may it result from a conscious decision or not. My research consisted of short 1-on-1 interviews, test drives and extensive secondary research. I then needed to find compelling ways to condense vast amounts of data and to present it. I did so by grouping information in categories complemented by short summaries, and by using four-quadrant diagrams (soundmaps) to contextualize the sounds made by the car. Eventually, I was able to draw a series of insights that guided my creative recommendations on Porsche.

HIGHLIGHTED SKILLS Research, editing, storytelling, strategic thinking..


51 _ Porsche

RESULT Based on the work I did on this assignment, my teacher Marc Weidenbaum, founder of Disquiet.com and also Strategy & Content Director at Albertson design, asked me to participate to a similar research project for a popular mobile application (under NDA at time of printing). The project involves usecase scenarios and competitive analysis.


52 _ Sonic audit

TABLE of contents Sound Audit the sounds inherent to DRIVING The sounds SPECIFIC TO PORSCHE 911 soundmaps A SONIC FETISH ON YOUTUBE THE SOUND OF PORSCHE IN ADVERTISING SONIC ASSOCIATIONS IN FILM PORSCHE IN RELATION TO MUSIC Creative Recommendations TV commercial #1 Phone application TV commercial #2


53 _ Porsche

sounds inherent to DRIVING

While setting up behind the Wheel (implicit) • doors unlocking or locking up • pulling of the door handle • slamming of the door • crunching of the seat as one sits on it • squeak and snap of the glove compartment • rolling of the seatbelt • click of the seatbelt

Alerts (explicit) • honking of doors unlocking or locking up • beeping of a door left open • ding of a dashboard alert • ticking of the turn signals and fourways • beeping of the hood being activated • beeping when car is in reverse

While driving (implicit) • introduction of the car key • ignition • engine idle • throbbing of the tailpipe • movement of the stick shift (automatic • acceleration rumble • gears shifting (automatic or manual) • screeching of the tires • honk • screeching of the brakes • shutting down of the engine • cracking of the handbrake

Others (implicit) • trunk being unlocked from • whistle of the trunk when • slamming of the trunk • sliding of the sunroof • the mechanism of the hood • motor of the wipers • flapping of the wipers

SOUNDS INHERENT TO

DRIVING a

semi-exhaustive list of sounds

made by fuel-powered cars.

or manual)

inside it opens up

as it pulls back and up

The Porsche 911 is an exclusive car and this sense of exclusivity is reflected in the sounds the car makes. Special attention is put into making even the most typical sounds specific - a soundscape you would not get with another brand.

sounds SPECIFIC TO PORSCHE 911

the gentle ‘chunkle-chunkle’ Of the fuel flAp pOpping Open. the ‘zzzziiiiizzzzz’ Of the reAr spOiler gOing up And dOWn. the ‘click’ Of the dOOr hAndle trigger. the ‘hummmm’ Of the little fAn in the cAbin-temperAture sensOr. the unique ‘clAck’ Of A dOOr clOsing. the ‘beep-beep-beep-beep’ Of the immObiliser. the ‘squeAkclick’ Of the glOvebOx clOsing. the ‘ggggrrrbbbbrrrrr’ Of the sunrOOf mOtOr. the ‘thWunk’ Of the bOOt lid being clOsed. the ‘hmm-hmm-hmm-hmm’ Of the Wiper mOtOr. the ‘kerchAck’ Of the resOnAnce flAp just priOr tO stArting the engine. YOu get the ideA.

SOUNDS SPECIFIC TO

PORSCHE sounds

the

impOrtAnt thing is thAt these sOunds eAch cOmes frOm

A different musicAl fOnt.

porsche 911

specific to the

it’s

An Audible dOcumentArY

On the WAY the cAr cAme tO be; A sOnic histOrY lessOn

and why they stand out.

in

911

evOlutiOn.

nO

cOuld sOund this WAY.

cAr thAt WAs creAted

eAch

‘As-is’

Of these sOunds derived

frOm A cOmpOnent Or sYstem creAted And develOped in cOmplete isOlAtiOn frOm the Others And then slOtted intO the existing

911

sOundscApe.

the

result is A tOtAl

AutOmOtive sensOrY experience Of unrivAlled richness.

http://www.germancarblog.com/2010/03/porsche-911-the-sound-of-a-911/

sounds SPECIFIC TO PORSCHE 911

if

sounds SPECIFIC TO PORSCHE 911

teslA is the cAr Of indeed, the trAditiOn its engine. the

pAst. Of

the future, the behind

pOrsche

pOrsche 911

is A cAr frOm the

is inherentlY tied tO the retrO sOund

the sOund Of the pOrsche 911 the

AcOustic signAture Of the

the tAilpipe.

A 911

911

tAke-AWAY

is the unique sOund betWeen the engine And

cAn be blindlY identified bY

“its

chArActerized bY high frequencies With tOnAl elements”.

mechAnicAl engine sOunds

thOse

sOunds trAnslAte

intO A drY And rAspY rumble thAt AlmOst seems tO belOng mOre tO the rAcetrAck Of the

1960’s

thAn tO the citY streets Of the

Over

is An exclusive cAr And this sense Of exclusivitY is reflected

in the sOunds the cAr mAkes. tYpicAl sOunds specific

the 911

-

speciAl

AttentiOn is put intO mAking even the mOst

A sOundscApe YOu WOuld nOt get With AnOther brAnd.

technOlOgies

hAve been develOped in this regArd And the cOntempOrArY cAr is cOnsiderAblY much

1963 - there is even such A thing 911 WAs first engineered.

As

“silent

1963 And cOntributed tO defining WhAt spOrt pOrsche 911s cOuld mAke less nOise thAn theY dO, pOrsche trAditiOn. the engine Of A 911 is meAnt 1963.

WAs first engineered in

driving sOunds like.

the pAst feW decAdes, mOst cAr mAkers hAve been fOcusing their effOrts

On reducing the explicit sOunds mAde bY the engine Of their cArs. quieter thAn in

the pOrsche 911

21st centurY.

the skeuOmOrph behind the sOund Of the pOrsche 911

the

neW

but this WOuld nOt hOnOr the

tO sOund exActlY like it did in

cArs”, Which WAs

uncOnceivAble When the

pOrsche,

On the Other hAnd, hAs been trYing tO mAke the

911

the

As lOud As it

cOuld WithOut turning it intO An AnnOYAnce, sO thAt it sOunds like WhAt YOu WOuld expect A rAce cAr tO sOund like.

A LOUD ENGINE the pOrsche 911

experience Of driving A

senses.

it

pOrsche 911

is An experience thAt heightens YOur

is A mAn versus mAchine experience in Which the mAchine cAn prOvide

YOu unprecedented sensAtiOns When YOu hAndle it prOperlY.

it

cAn AlsO becOme A

risk if YOu mishAndle. listening tO the cAr gives gives YOu An insight As tO hOW tO drive it And hAs Often becOme the best WAY tO tAlk AbOut it.

uses A

sOund sYmpOser

technOlOgY meAnt tO AmplifY the sOund Of

its engine And prOvide A better AcOustic link betWeen the engine And the cAbin.

A lOud engine is meAnt 1- creAte An emOtiOnAl 2- prOvide feedbAck tO

tO:

cOnnectiOn betWeen the driver And the cAr. the driver On the stAte Of the engine.

http://articles.sae.org/10374/

SOUNDS INHERENT TO DRIVING & SOUNDS SPECIFIC TO PORSCHE 911 TAKE-AWAY

The 911 was first engineered in 1963 and contributed to defining what sport driving sounds like. The new Porsche 911s could make less noise than they do, but this would not honor the Porsche tradition. The engine of a 911 is meant to sound exactly like it did in 1963. The experience of driving a Porsche 911 is an experience that heightens your senses. It is a man versus machine experience in which the machine can provide you unprecedented sensations when you handle it properly. It can also become a risk if you mishandle. listening to the car gives gives you an insight as to how to drive it and has often become the best way to talk about it.


54 _ Sonic audit

SOUNDMAPS sounds

of the

to each other.

porsche 911

in relation


55 _ Porsche

SOUNDMAPS

rrWWWWrrrrrrr

EXplicit

SOUNDMAPS

puuit

spOrt exhAust

hOnk

rruuuuuuuWWWrrrr

puit-puit dOOrlOck

stAndArd exhAust

rrrrrrrhrrrrhrrr idle engine

beep-beep-beep-beep immObilizer

nOtes

sOundmAp #1 - sOunds inherent tO driving

“implicit” When theY the user is expected tO

sOunds

Are cOnsidered

sOunds

Are cOnsidered

AttentiOn tO them.

zzzziiiiizzzzz

Are nOt meAnt fOr YOu the user

reAr spOiler

ignOre them As theY use the prOduct.

kerchAck resOnAnce flAp

pOrsche

hAs mAde cOnsciOus effOrts tO reduce the AmOunt Of sOunds heArd While

driving in Order tO put emphAsis On the verY specific sOund Of its engine. mOre explicit the sOund, the lOuder it usuAllY is. cOmmOn the sOund, the quieter it usuAllY is.

On

prOduct.

the

prOduct.

the Other hAnd, the mOre

thOse

“explicit”

When theY help shAping the experience Of the

Porsche

sOunds hAve been cOnsidered An integrAted pArt Of using the

Power-fueled cars

thWunk

clAck

bOOt lid zzz-zzz-zzz

dOOr clOsing

mirrOr retrActOr

the

size Of the fOnt is indicAtive Of hOW prOminent the sOund is.

size meAns thAt the sOund is lOud. quiet.

A

A

lArger fOnt

chunkle-chunkle

smAller fOnt size meAns thAt the sOund is

fuel flAp hmm-hmm-hmm-hmm

ggggrrrbbbbrrrrr

Wiper mOtOr

sunrOOf mOtOr

click dOOr hAndle trigger

squeAk-click

IMPLICIT

glOve cOmpArtment

rrWWWWrrrrrrr spOrt exhAust

cAbin-temperAture sensOr

prrrrr leAther seAt frictiOn

EXplicit

SOUNDMAPS

hummm

puuit

puit-puit hOnk

dOOrlOck

rruuuuuuuWWWrrrr stAndArd exhAust

riiiiing

rrrrrrrhrrrrhrrr idle engine

phOne ringer On bluetOOth

ziiiuuuuW

beep-beep-beep-beep

electrOnic pArking breAk

immObilizer

zzzziiiiizzzzz

sOundmAp #2 - A cAr frOm the pAst, A technOlOgY frOm the future pOrsche pOrsche

knOWs thAt pArt Of its AppeAl lies in its ties tO histOrY.

hOWever,

reAr spOiler

futuristic

retro

shhhhh-shhhhh mOving heAdlights

AlsO knOWs thAt in Order tO keep up With the cOmpetitive mArket Of

zzz-zzz-zzz

spOrts cArs, nOt OnlY dO theY need tO be At the tOp Of technOlOgies, but theY AlsO need tO cOmmunicAte it in WAYs thAt Are nOt interfering With the trAditiOn.

mirrOr retrActOr

pOrsche

zzzziiiiih

cOnsequentlY, sOme sOunds AssOciAted And lOud, While Others hAve mOre Of

tO the

pOrsche 911

sensOr/bAtterY When dOOr is Open

Are purpOsefullY retrO

A futuristic quAlitY And Are usuAllY quieter. chunk

prrrrr leAther seAt frictiOn

IMPLICIT

WindOWs Adjusting After dOOr clOsed

NOTE ON SOUNDMAPS Sounds are considered “implicit” when they are not meant for users to pay attention to them. Users are expected to ignore those sounds as they use the product. Sounds are considered “explicit” when they help shape the experience of the product. Those sounds are considered an integrated part of using the product. The size of the font is indicative of how prominent the sound is. A larger font size means that the sound is louder. A smaller font size means that the sound is quieter.


56 _ Sonic audit

EXplicit

rrWWWWrrrrrrr

puuit

spOrt exhAust

hOnk

rruuuuuuuWWWrrrr

puit-puit dOOrlOck

stAndArd exhAust

rrrrrrrhrrrrhrrr idle engine

beep-beep-beep-beep immObilizer

zzzziiiiizzzzz reAr spOiler

kerchAck resOnAnce flAp

Porsche

Power-fueled cars

thWunk

clAck

bOOt lid zzz-zzz-zzz

dOOr clOsing

mirrOr retrActOr

chunkle-chunkle fuel flAp hmm-hmm-hmm-hmm

ggggrrrbbbbrrrrr

Wiper mOtOr

sunrOOf mOtOr

click dOOr hAndle trigger

squeAk-click

SOUNDMAP #1 - SOUNDS INHERENT TO DRIVING Porsche has made conscious efforts to reduce the amount of sounds heard while driving in order to put emphasis on the very specific sound of its engine. The more explicit the sound, the louder it usually is. On the other hand, the more common the sound, the quieter it usually is.

IMPLICIT

glOve cOmpArtment hummm cAbin-temperAture sensOr

prrrrr leAther seAt frictiOn


puit-puit hOnk

dOOrlOck

rruuuuuuuWWWrrrr

Porsche

puuit

_

spOrt exhAust

EXplicit

rrWWWWrrrrrrr

Porsche knows that part of its appeal lies in its ties to history. However, Porsche also knows that in order to keep up with the competitive market of sports cars, not only do they need to be at the top of technologies, but they also need to communicate it in ways that are not interfering with the Porsche tradition.

57

SOUNDMAP #2 - A CAR FROM THE PAST, A TECHNOLOGY FROM THE FUTURE

Consequently, some sounds associated to the Porsche 911 are purposefully retro and loud, while others have more of a futuristic quality and are usually quieter.

stAndArd exhAust

riiiiing

rrrrrrrhrrrrhrrr idle engine

phOne ringer On bluetOOth

ziiiuuuuW

beep-beep-beep-beep

electrOnic pArking breAk

immObilizer

zzzziiiiizzzzz reAr spOiler

futuristic

retro

shhhhh-shhhhh mOving heAdlights

zzz-zzz-zzz mirrOr retrActOr

zzzziiiiih sensOr/bAtterY When dOOr is Open

chunk

prrrrr leAther seAt frictiOn

IMPLICIT

WindOWs Adjusting After dOOr clOsed


58

A SONIC FETISH ON YOUTUBE

_ Sonic audit

the pOrsche 911

is A cAr thAt fAscinAtes the public bY

the mechAnics Of it.

A

A SONIC FETISH ON

YOUTUBE a

911

911

YOutube

shOW thAt mAking peOple

seems tO be the best WAY tO shOW Off

the pOWer Of its engine.

these

videOs shOW the

911,

mOst Of the time stAtiOnArY,

With sOmebOdY inside AccelerAting, sWitching the turbO mOde On And Off, plAYing With the exhAust, etc.

group of brand aficionados showcase

the sound of the

series Of videOs On

listen tO YOur

on social media.

these

videOs hAve An AverAge Of

ApprOximAte

200,000

vieWs).

50,000

vieWs

(sOme

even

THE SOUND OF PORSCHE IN ADVERTISING

hAs A lOng histOrY Of Advertising, hOWever, the

pOrsche

fOrmulA used hAs been rAther cOnsistent:

spOts Are mOstlY slOW-pAced, getting fAster tOWArds

- the

(driving

the end

- the

sequence).

spOts Are heAvilY scOred, Which gives them A

cinemAtic feel And specific mOOds.

mOst

Of the scOres

use A sYmphOnic OrchestrA, Whether theY Are meAnt tO be

pOWerful like hOWArd shOre’s scOres tO the lOrds ring series, Or minimAlistic like thOmAs neWmAn’s tO AmericAn beAutY. sOme scOres Are electrOnic.

- the use sOme spOts - there

Of the scOre

Of sOunds mAde bY the cAr is rAther minimAl. bArelY use it At All.

is nO specific jingle AssOciAted With the cAr Or

the brAnd.

SONIC ASSOCIATIONS IN FILM

pOrsches hAve 1960’s. the

been seen in A lOt Of mOvies since the

mOst sOnic AppeArAnce

mOvie

“le mAns”

stArring

pOrsches in film WAs in the steve mcqueen in 1971. the

mOvie is pOpulAr AmOngst cAr enthusiAsts fOr depicting rAther AccurAtelY the WOrld Of AutO rAces.

it

is knOWn

fOr hAving next tO nO diAlOgue: the sOundtrAck Of the mOvie is AlmOst entirelY mAde bY

there Are pOrsches pussYcAt kill kill

pOrsches

And

ferrAris.

in severAl Other mOvies, frOm tO

tAxi driver. the

fAster

rumble Of the

engine is prOminent in mOst thOse scenes And the cAr is Often used fOr cAr chAses in Which AccelerAtiOns And the screeching Of the tires Are pArticulArlY lOud.

the

sOund Of the geArs shifting is AlsO sOmetimes

emphAsized bY A shOt Of the mAnuAl stick.

PORSCHE IN RELATION TO MUSIC

pOrsche’s endOrsement bY the hip hOp cOmmunitY pOrsche

is A luxuriOus brAnd And, like mOst luxuriOus brAnds, it hAs A

strOng fOllOWing in the hip hOp cOmmunitY.

the

mOst recent And mOst nOticeAble exAmple Of thAt is the pOp-rAp

“heY pOrsche” bY nellY, desirAble it is. the end Of engine rOAring.

single hOW the

Other hip hOp pOrsche smith

WhOse lYrics sexuAlize the cAr tO shOW the videO AlsO feAtures the sOund Of

Artists hAve nAmed themselves After the brAnd, like And

pOrsche nine.

sOme electrOnic Artists AlsO seem tO shOW An interest in the cAr, like pOrsches On the AutObAhn, ellA pOrsche Or pOrsche peOple. theY Are, hOWever, relAtivelY unknOWn.

The various fielfs of research and their takeaways. spread


59

A SONIC FETISH ON YOUTUBE

_ Porsche

THE SOUND OF PORSHCE in

ADVERTISING the

explicit sounds associated with the car

and the brand in its advertising campaigns.

the AbOve videO frOm AutOdigest tv, Which celebrAtes the 50th AnniversArY Of the cAr, ends With A cOncertO dOne entirelY With the sOund Of severAl 911s.

http://www.youtube.com/watch?v=l0SABCMvckI

THE SOUND OF PORSCHE IN ADVERTISING

http://www.youtube.com/watch?v=2mlae6ZhmbY

SONIC ASSOCIATIONS IN

http://www.youtube.com/watch?v=beZ1NVvNg0M

FILM

http://www.youtube.com/watch?v=Rr4aRWEmkxc

how porsche

http://www.youtube.com/watch?v=KRbzJ0L1Zn8

is represented in film and

the sounds that have been deliberately highlighted by the filmmakers.

PORSCHE IN RELATION TO MUSIC

pOrsche’s cOnsciOus invOlvement in the music industrY pOrsche

MUSIC the

voluntary in involuntary presence of

in the music industry.

hAs recentlY extended its culturAl engAgement With the

fOr AnOther three YeArs.

PORSCHE IN RELATION TO

it

remAins the mAin spOnsOr fOr the

leipzig geWAndhAus germAn cOncert

hAll, Which shOWs, in cOmplement tO the brAnd’s Advertising cAmpAigns, its interest fOr sYmphOnic music.

porsche

specific deAlerships AlsO sOmetimes spOnsOr lOcAl musicAl events thrOughOut the united stAtes, like pAcific pOrsche (lOs Angeles) spOnsOring the hermOsA beAch music festivAl (Which plAYs vAriOus genres Of music, frOm reggAe tO sOul music). this

YeAr,

pOrsche

AlsO experimented With music With A sOciAl mediA cAmpAign thAt

invited peOple tO creAte music With the sOund Of the

pOrsche pAnAmerA.

http://www.porsche.com/international/multimedia/panamera-soundvoyage/

Secondary research led me to various findings that I condensed in distinct categories. A Sonic Fetish on Youtube highlights the various creative ways that car (and music) aficionados use and share the sound of their vehicles. The Sound of Porsche in Advertising analyses how sound effects and music have been used in Porsche commercials through the years. Sonic Associations in Film describes how the sound of Porsche has been transposed to the silver screen (with emphasis on Steve McQueen’s Le Mans). Finally, Porsche in Relation to Music looks into Porsche’s involvement in music (event sponsorship) and into the ways the brand is addressed in song lyrics, as well as its endorsement by the hip hop community.


60

_

Sonic audit

CONCLUSION


61 _ Porsche

driving

A

pOrsche 911

is An experience thAt heAvilY relies On YOur eArs And

imAginAtiOn.

YOur

eArs help YOu understAnd the cAr.

if

YOu hAve never driven A spOrts cAr

befOre, YOu Will need A time Of AdAptAtiOn in Which listening tO the cAr is the secOnd mOst impOrtAnt thing YOu Will dO After WAtching the rOAd. this Will build A sOnic relAtiOnship betWeen YOu And the milliOns Of peOple befOre. it.

YOur

listening

tO the

911

911,

Overtime,

like it hAs fOr

is A WAY Of cOmmunicAting With

eArs Will AlsO trigger YOur imAginAtiOn.

the engine is lOud, like cArs it is rAspY And drY, like the cArs YOu WOuld OnlY 70’s. pOrsches hAs been heAvilY present in the mediA

used tO be but nOt AnYmOre. see in mOvies frOm the

lAndscApe thrOughOut the YeArs, sO much thAt their sOund evOke memOries even in thOse Of us WhO hAve never driven the cAr.

pOrsche 911

there

is A cinemAtic quAlitY tO the

thAt gOes beYOnd the sOund the cArs mAke.

it

is its AbilitY tO

prOject YOu in A mOvie just bY listening tO it; AbilitY thAt hAs been embrAced And emphAsized bY

pOrsche

in their Advertising And spOnsOrship.

Driving a Porsche 911 is an experience that heavily relies on your ears and imagination. Your ears help you understand the car. If you have never driven a sports car before, you will need time to adapt in which listening to the car is the second most important thing you will do, after watching the road. Over time, this will build a sonic relationship between you and the 911, like it has for millions of people before. Listening to the 911 is a way of communicating with it. Your ears will also trigger your imagination. The engine is loud, like cars had to be, but not anymore. It is raspy and dry, like cars you would see only in movies from the 70’s. Porsche has been heavily present in the media landscape throughout the years, so much that its sound evokes memories even in those of us who have never driven one before. There is a cinematic quality to the Porsche 911 that goes beyond the sound it makes. It is its ability to project you in a movie just by listening to it; an ability that has been embraced and emphasized by Porsche in its advertising and sponsorship.


62 _ Sonic audit

CREATIVE RECOMMENDATION #1

MEDIA Video INSIGHT The Porsche 911 is the type of noisy cars that we pretended to drive when we played make-believe in our childhood. TAG LINE “Porsche, we’ve all driven one before.” LENGTH 30 seconds


63 _ Porsche

SILENCE IS A CURRENT TREND Last Saturday, a friend of mine who works for Tesla offered to take me on a ride in one of their upcoming midline cars. He was assigned by the company to drive it to Los Angeles for a show the next day. While driving, he bragged about how quiet the Tesla was, even at full speed or during intense accelerations. I realized how most cars, nowadays, aim at minimizing sound. Silence can be something we value in urban communities. FACT Porsches are loud cars. They embrace the sound of driving and make it part of the experience. The noises made by a Porsche help drivers communicate with the engine in order to perfect their driving. Sound can be something that car-lovers value. INSIGHT Our sonic relationship to cars is instinctive, even kids understand it. If you look at a kid pretending to drive, behind the wheels of an imaginary car, with both hands up in the air steering the wheel, he will make sounds. In fact, the louder the sound, the more fun the kid is having. Lower sounds mean he is accelerating. High-pitched sounds mean that he is taking a sharp turn, and so on. This kid might just be sitting on his couch with his feet barely reaching out, but he is having a Porsche experience. The sounds that the Porsche 911 makes are a soundmark of our childhood.


64 _ Sonic audit

PRESENTING - PORSCHE, WE’VE ALL DRIVEN ONE BEFORE A commercial that shows no matter how different our tastes, our backgrounds and our habits, we’ve all experienced Porsche before, as children pretending to drive in a world of make-believe. THE IDEA The new commercial for Porsche shows different people and their diverse rides in different communities. Some people are driving quiet Priuses, other large SUVs. Some are slowly pulling into their driveways in quiet suburban streets, while others enjoy the thrill of speed going downhill on their bikes. The people we see are all from different communities, different ages and ethnicities. Meanwhile the voiceover narrates: “We all make different choices, have different styles, choose to like different things, and pursue different goals. But there is one thing we have in common, One thing we all share, It’s the Porsche experience.” The camera cuts to black and the sound of the 911 echoes loudly for a few seconds. As the picture slowly brightens up, we distinguish a kid, on a couch, pretending to drive with both hands up in the air, like we all used to do as kids. As the picture gets clearer, the sound of the engine of the 911 morphs into the sound that the kid is making with his mouth. Fade to black: Porsche “We’ve all driven one before”.

RIGHT The script for the 30-second commercial “Porsche, We’ve All Driven One Before”.


VIDEO

AUDIO music: minimalistic symphonic piece with heavy in strings that sets a mellow mood

[fade

in]

A

prius quietly stops at a stop sign to let

pedestrians cross the street

[cut [cut

to]

An Asian to] The prius

sfx

the electric car starting and stopping. voice over

woman smiles from behind the wheels

We

quietly starts again[fade out]

all make different choices,

sfx

[fade in] A skateboard goes downhill quickly [cut to] A close-up of the young white male skateboard having a laugh.[fade out]

[fade

in]

A

the skateboard’s wheels on concrete getting louder and quiet again

one the

voice over

Have

“¡obama!”. The car Escape. [fade out]

bumper sticker that reads

starts and drives away: it’s a

Ford

different styles,

sfx

the engine starting, car driving away voice over

Choose [fade in] A hill, looking black]

male and female bicyclists are racing down the back at each other competitively.

[fade

to

sfx two bikes going fast voice over

And sfx

[blank

the

screen]

to like different things,

pursue different goals,

911

starts loudly, sport exhaust

voice over

but there is one thing we have in common,

[fade

in]

A

child is sitting on a couch that is obviously

too big for him.

With

both his hands up in the air, he

pretends to stir a car’s wheel.

[cut

to]

A

close up of the child’s mouth as he mimics the

sounds fo an engine

[fade

to black]

sfx the sound of the

logo

+ “We’ve

all driven one

turns into the sound of the child

voice over

One

thing we all share,

sfx

[title car] Porsche 911 before”

911

mimicking the sound of the engine.

the sound of the

911

turns into the sound of the child

mimicking the sound of the engine. voice over

I t’ s

the

Porsche

experience.


66 _ Sonic audit

CREATIVE RECOMMENDATION #2

MEDIA Phone application INSIGHT You learn how to drive a car by listening to the sounds it makes WHAT IT IS A phone application that teaches people how to drive with a manual transmission by listening to the sounds of the engine. NAME SoundSync911


67 _ Porsche

Most of us have learned to drive on automatic cars because they are common and convenient. By driving automatics, we surrender a bit of control to our cars in order to have less to worry about. In in the world of Porsche, however, those of us who do not know how to drive a stick do not earn the title of “driver�. Ultimately, only a stick gives us full control of the car. Driving a Porsche is a man-versus-machine experience made for people who want to challenge the machine. That said, there are many of us who would like to try to drive a stick, but they never find the occasion to do it, or are afraid to wreck the car. We suggest launching a Porsche 911 phone application, SoundSync911, that teaches how to drive a stick by listening to the sounds of the engine. The application would put us behind the wheel but would not show us the road,w only darkness in order for us to fully focus on the sounds the car is making. We get to control the car solely with the gas pedal, the brake pedal, the clutch and the stick. The goal is to switch gears at the appropriate time until the end of the blind ride. Besides arrows indicating when the car is turning, we only get the sound of the engine to rely on in order to know when the car wants to speed up or when it needs power - because it is going uphill for example. At the end of the ride, results evaluating our overall time, average speed and gas consumed will be uploaded to the server and compiled in order to rank users, giving us an idea of how well we performed.


68 _ Sonic audit SOUNDSYNC911, the Porsche phone application that teaches car enthusiasts how to drive a manual car by interpreting the sounds made by the Porsche 911. left


69 _ Porsche

1 Follow the road by rotating your phone to turn.

2 Listen to the sound of your engine as you drive. There is no tachometer to tell how the egine is performing.

3 Use the pedals to accelerate, and break. Don’t forget to hit the clutch to change gears.

4 Drag your finger over the transmission grid to change gears.

rruuuuuuuwwwrrrrrrrr above

Gameplay.


70 _ Sonic audit

CREATIVE RECOMMENDATION #3

MEDIA Video INSIGHT We have all experienced the Porsche 911 through movies TAG LINE “Porsche, the sound of your imagination.” LENGTH 30 seconds


71 _ Porsche

The Porsche 911 is a car that has been in the media landscape for decades. Since the 1960’s, movies have associated it with both the world of racing and extravagant luxury. Through countless chase scenes and glossy shots, much emphasis has been placed on the sounds the car makes (especially at high speed) and on its now classic looks. Those movies made us dream. It takes only the raspy sound of the Porsche 911 for us to remember, not our experiences driving it (most of us haven’t had the chance), but the dreams that we had while listening to the engine roar in movies. We suggest a commercial that follows someone as he/she settles behind the wheel of the Porsche. It's gloomy outside and we understand that the halfawake and unmotivated driver is starting his/her day. As he/she starts the engine, and the radio comes on, the camera settles behind the front seat to show the driver’s perspective. When the car takes the road, the landscape starts changing. Like with an Instagram filter, the road slowly takes the look of an old movie, shot on 8 or 35mm, while the cabin still looks contemporary. The low-res sound of the radio becomes clear and louder while the music transitions to a series of recognizable movie scores that pace the driving. The driver’s outfit also changes according to the scenery. We end the commercial with a shot of the driver’s face, now looking fully awake, exited and engaged. Porsche. The sound of your imagination


72

_

Essay


73 _ Basic Instinct

BASIC INSTINCT as an example of simultaneous female exploitation and emancipation in mainstream cinema. TYPE OF PROJECT School assignment

CONTEXT

CLASS GLA_606_01 Crossing Borders

The class focused on the concept of dialectical reversal of otherness (DRO) in the context of historical relationships between dominant and subservient cultures. A DRO is an attempt to include the Other that ultimately results in an exclusion, due to a reductive projection of the Self. It is, for example, how we once embraced the charms of "the Orient" while reducing it to clichĂŠs about snake charmers. For our final assignment, we were asked to identify and explain an occurrence of a DRO.

INSTRUCTOR Steven Weiss DELIVERABLE Deck SEMESTER Summer 2013

Since Feminism was brought up during the course of the class, I decided to study how the movie Basic Instinct constitutes a DRO. The movie became a hit for sexually objectifying its female lead but it also elevated her far beyond her male antagonist. Is it a chauvinistic movie or a feminist piece?


74

_

Essay


75 _

Hollywood stereotypes, however, extend way beyond the city limit. Outside of La La Land, not everybody sees stereotypes as worthy of celebration. Amongst those people are the feminists. Indeed, while men seem to embrace, or at worst ignore, the stereotypes imposed on them, women are much more critical of the way they are being portrayed in mainstream cinema. Indeed, the portrayal of women on the big screen has a tradition of being reductive which, at a time when women were fighting for freedom and equal opportunities, left a bitter taste in a lot of mouths. The stereotyping of females on film (or even in real life for that matter) becomes even more critical when women are sexualized - whether they are being sexualized or choose to sexualize themselves. Countless movies have taken their place in pop culture history by sexualizing women, but the discourse about female sexuality that some tried to push was eventually ignored. Raciness, scandal, camp and indignation are usually what prevails. In 1986, 9 ½ Weeks, by Adrian Lyne, was one of the first movies to come out to the mainstream that was openly about sex and that took the point of view of the female character. Very few critics understood what the movie was about. Amongst them, the belated and beloved film critic Roger Hebert understood the message of female empowerment the movie was trying to convey: “That’s what makes the movie fascinating: Not that it shows these two people entering a bizarre sexual relationship, but that it shows the woman deciding for herself what she will, and will not, agree to”. Before it was even released, the movie was bashed by test audiences and trimmed down from its four-hour original running time to a mere two hours of material. Even with the cuts taken into account, the movie was critically panned. It became, however, a cult favorite for its sexual content and European following. The character of Elizabeth, who submits herself sexually to her male lover before understanding the consequences of her decision, was ignored. Men loved Kim Basinger, the actress, in the nude and women, who for the most part had not seen the movie but had inevitably heard of it, hated her for being everything a proud woman should refuse to be. It was clear that in 1986, 9 ½ Weeks had not found the right audience. In 1992 however, Basic Instinct perfectly managed to fulfill the expectations of the mainstream public, both male and female, in order to push a message of female empowerment to a much broader audience. The movie is about a woman who is accused of killing her lover while having sex, in the same fashion that she has previously described in a book. The movie attracted male viewers by exploiting the sex appeal of its female lead, Sharon Stone, but also appealed to female audiences by unapologetically elevating her to a position of pure dominance. The Male Gaze “Film critics and theorists like Laura Mulvey and Mary Ann Douane demonstrated how the camera assumes the controlling position of the male spectator in order to produce voyeuristic pleasure for the male-positioned viewer presented with the fetishization of woman as a spectacle.” W. Chadwick, New Directions: A Partial Overview

Basic Instinct

I remember arriving in Los Angeles and leaving it with the same idea in mind: most stereotypes about Hollywood are widely verified. I do not mean to come off as someone who has not bothered to look past what meets the eye; I truly was witnessing the power of Hollywood stereotypes. I began wondering who created who? Did Hollywood create the stereotypes or did the stereotypes create Hollywood? The thing I knew for sure, however, is that Hollywood, both the city and the industry, had shamelessly decided to celebrate the cliché.


76 _ Essay In order to take the masses to the theaters, the movie had to give viewers what they wanted: visual pleasure. Mulvey sees two aspects of visual pleasure. They are born of sexual difference between the protagonist and the antagonist, the male and the female. They are the voyeuristic “gaze”, and narcissistic identification. What Mulvey refers to as “the gaze” is the Hollywood tradition of looking at women through a man’s eyes. Prior to the 1990’s, men dominantly assumed the lead in Hollywood movies; they were the protagonists. Women were treated as antagonists and were mostly offered supporting roles. Being the antagonist meant being the anti-man and being the supporting character meant making the lead look better. Female characters in Hollywood were used in relation to the male lead in order to help define him by what he was not – without being given much character development. What reinforces the gaze is the narcissistic identification: male audiences, and sometimes female audiences too, are meant to recognize themselves in the main character through his virtues and glamorized flaws. Femme fatales and the fetishization of women Basic Instinct follows this tradition perfectly and even went the extra mile. It resurrected a genre of movies that had long been abandoned, the film noir, in which women are known to be objectified to wider degrees. Film noirs are very specific in their representation of women. Their female characters, the femme fatales (French for lethal women), are blatant stereotypes: they are bleached, cold, scheming and morally perverse. Film noirs have repeatedly been criticized by feminists for their fetishization of women. According to Freud, a fetish is to find something attractive beyond its original use. Freud could indeed identify many fetishes in the aesthetics of the femme fatale: high heels, cigarettes, lipstick etc. A femme fatales is a kind of dominatrix. What feminists like Mulvey understand by fetishization, however, is how women are presented as an elaborate tight package that no one bothers to explain. Basic Instinct does just that. The Character of Catherine Tramell is obsessively omnipresent in the movie but she is never explained. We don’t know what her motivations are. We don’t know where she is from. We only know her through her interactions with the male protagonist Nick, portrayed by Michael Douglas. The movie’s conscious choice of not explaining its femme fatale is obvious in the scene where psychologists and detectives are profiling her. Everybody glances over the fact that her parents both died in an accident when she was only a kid (which could have been an incredible insight to her psyche); rather they speculate about how she uses her sex appeal and whether or not she is actively using it on with Nick. Verhoeven decided to pay tribute to Alfred Hitchock’s Vertigo when he wrote the character of Catherine. Hairstyles, wardrobe and voice are mimicked in Basic Instinct to evoke of Kim Novack’s Vertigo character Madeleine. Vertigo is a classic example of film noir and of female exploitation (although, unlike Basic Instinct, the exploitation in Vertigo is not sexually graphic). In Vertigo, James Stewart plays a flawed and likable ex-detective who falls into a web of lies and deceit as he investigates his friend’s wife’s whereabouts. Like in most film noirs, Madeleine is sexual, forward, manipulative and lying. As the plot unfolds, we discover that, while she appeared to be a strong woman at first, she is actually emotionally weak, vulnerable and dependent and, like in most film noirs, she will find her fate in the ultimate punishment for her crime, her crime to be overly feminine and tantalizing: death. In classic cinema, the femme fatale is seen as a castrating figure (men lose control, morals and pride around her). She has a negative influence on men, threatens their superiority, and therefore needs to be eliminated. Feminists took many issues with the patterns that film noirs like Vertigo replicated and they consequently took issue with Basic Instincts during its making – so much that they tried to sabotage its shooting and to prevent its release. Feminists contested that the movie


77 _

To add fuel to the fire, Sharon Stone declared to the media that Verhoeven, the director, tricked her into filming an explicit close-up of her anatomy. He supposedly told her that shadows would allude to her nudity without showing her naked. Life imitated art and Basic Instinct became an exploitation movie in many ways. Yet, it is this very trait that brought the masses to the theater. The word of mouth picked up, the media did too and the movie was a hit worldwide, giving Sharon Stone a career-making role that still makes the headlines today - along with the status of “powerful female”. The particular image that took everyone to the theater was taken from the now classic interrogation scene where Stone unfolds her legs, graphically revealing the absence of underwear to the male interrogators and to the spectators worldwide. This scene has famously become the most freeze-framed scene in movie history – which ironically makes of a vagina the symbol of the movie. I can see how summarizing the film and its female star to a vagina would anger female activists. I do believe however that the graphicness of Basic Instinct is not to be dismissed as a mere instrument for male audiences to take pleasure from. It is, sure, but there is more to it. I find this symbolic vagina to be reminiscent of a different feminist tradition that took place in the 1970’s. I am referring to the art of feminists artists like Judy Chicago or Faith Wilding who put the female body, most often the vagina, at the center of their art in order to celebrate womanhood and to prevent men from turning a blind eye on their identity. I believe that, through the sexual exploitation of its female start, Basic Instinct imposed a discourse of female sexuality on its male audiences that was meant to empower women. Beyond the gaze Basic Instinct is not considered a film noir but a neo-noir. It is in this distinction that its discourse on females and female sexuality has gone from reductive to empowering. Film theorist and notorious feminist, Camille Paglia, was quick to defend the movie. She went as far as saying that Basic Instinct was one of her favorite movies and she agreed to record an audio commentary for the movie’s DVD release. In it, she studies, scene by scene, the ways in which Catherine is established as superior to the other male characters. For the first time in a film noir, the Femme Fatale does not have a meltdown. Catherine does not lose control. She might beg but she is doing it with a very specific goal in mind. She might show vulnerability but she calculated it. The character of Catherine is showing higher intelligence and, in the terms of Survivor, outwits, outplays and outlasts every other character. The particular scene that establishes Catherine as a neo-femme fatale is, again, the interrogation scene. In it, Catherine, who is the only female in the room in front of six men, refuses to behave like a damsel in distress. Through verbal and body language, Catherine is crude and blunt. She leads the interrogation and she establishes herself as one of the guys. But before you think of her as a modern Simone de Beauvoir smoking cigars at the café with the men, Catherine flashes her womanhood before she states: “I don’t make rules, Nick. I go with the flow.” In this regard, we can view Basic Instinct as an example of strategic essentialism. Strategic Essentialism Strategic essentialism is a theory who was brought up by Belgian feminist Luce Irigaray and emphasized by Gayatri Spivak. Until then, the feminine debate was between existentialists like de Beauvoir, who believed existence transcends essence, and

Basic Instinct

was perpetuating negative stereotypes on women: the female character looks like she’s taken out of a fashion magazine, she is nude throughout the whole movie while her male co-start his barely showing his backside, she is promiscuous because she is evil, she is a bisexual because she is perverse, her lesbian lover dies because she is a lesbian, etc. I will not even mention the character of Beth who is a closeted bisexual who is first raped then killed. Determined to make of Basic Instinct a flop, feminists and gay activists protested the premiere of the movie (shot in San Francisco like Hitchcock’s Vertigo) by holding signs that read “she did it”, spoiling the end of the movie in hope that people would not go to see it.


78 _ Essay essentialists like Hélène Cixous, who believed that essence transcends existence. In other words, the debate asked whether one is born or becomes a woman. Are there inevitable characteristics that come with being a woman, or are women primarily human beings that have the power to define themselves? Irigaray and Spivak argue that, in a world where the woman is othered by men, women should make the strategic choice to be treated as women when it benefits them, and to be treated independently of their gender when it doesn’t. In Basic Instinct, this strategic essentialism is the strength of Catherine Tramell. She sometimes acts like a man in order to gain power, and she sometimes leverages her womanhood (very literally) for the goal. This is where Basic Instinct becomes a neonoir - and where mentalities proved to have changed since the days of classic film noir. Unlike the classic femme fatale, Catherine is not a woman who gets trapped as she experiments with her sexuality and identity. She frees herself. Catherine proves to be sheer genius and, as Nick is enable to compete, she almost becomes the protagonist: she is the puppeteer, Nick is the puppet. The ending of the movie is the real departure from the old mentalities. The femme fatale, the feminine to the extreme, is not punished. In a twist of events, Catherine turns out to be the murderer she was suspected to be and successfully puts the blame on a repressed woman. She walks free. She is rewarded. But the movie doesn’t stop here. As she lies in bed with a fooled Nick, it becomes time for her to decide whether she will kill Nick or not. Will this newly empowered woman symbolize her victory over men by killing Nick, or will she spare him and let men be? After reaching under the bed for the ice pick that was strategically placed there, she decides to turn back and embrace her lover, setting men and women on common grounds of co-dependence. The issue with credibility With Basic Instinct, Paul Verhoeven set new standards for Hollywood. The industry traditionally known for its puritanical ways and masochistic tendencies was finally becoming more tolerant towards powerful women and sexuality on film. So much that studios invested a vast amount of money in producing Verhoeven next picture: Showgirls. Showgirls was meant to be in the same vein as Basic Instinct: a sexual movie with a female protagonist who leverages her sexuality and objectification by men to gain freedom - think All About Eve meets Vegas. The movie bombed. It became one of those so-good-it’s-bad movies for relatively indistinguishable reasons. All we know is that somehow, high on his success with Basic Instinct, Verhoeven went too far. Later on, he admitted defeat and recognized that “with Basic Instinct [he] opened the doors of censorship in American cinema, and with Showgirls, [he] closed them down”. Two days ago, the new Paul Schrader movie came out. The Canyons got attention partly because it is a sexual psychological thriller; the first in a while since the genre has been abandoned since Basic Instinct and the series of B-movies that tried to imitate it. The genre and its ambivalence is no longer credible to American audiences and few people care to watch anymore. The similar issue can be applied to Irigaray’s views on feminism. Will the ambivalence between sometimes demanding different treatments and sometimes demanding equal treatments as women affect the feminists credibility? Will the voice of feminism be ignored as they struggle with credibility?


79 _ Basic Instinct

Bibliography Kearney, Richard. Continental Philosophy in the Twentieth Century. Routledge, 2012 Irigaray, Luce. I Love To You: Sketch for a Felicity Within History. New York and London: Routledge, 1996 Paglia, Camille, Vamps & Tramps: New Essays. London: Penguin Books, 1994 Basic Instinct, Dir. Paul Verhoeven, Tristar Pictures, 1992 9 ½ Weeks, Dir. Adrian Lyne, MGM, 1986 Vertigo, Dir. Alfred Hitchcock, Paramount Pictures, 1958 Showgirls, Dir. Paul Verhoeven, MGM, 1995


80

_

Artist profiles


81 _ R.E.M., Lana Del Rey

R.E.M. & LANA DEL REY Artist profiles

TYPE OF PROJECT School assignment

THE PROJECT

CLASS ADV 499_02 Sounds of Brands, Brands of sounds

The class focused on the role of sound in media, and on the ways that brands have been using it, or could potentially use it, for strategic purposes.

INSTRUCTOR Marc Weidenbaum DELIVERABLES Cultural map, 31-page deck SEMESTER Fall 2013

Both projects featured below aimed at profiling a musical act. What do they sound like? What are they famous for? Are there any opportunities that they haven’t explored? Instead of looking at the entirety of each projects, the following pages demonstrate the tools and techniques that I used in order to streaminline extensive data and tell complex stories.


82 _ Artist profiles

R.E.M. CULTURAL MAP

PROJECT Cultural map GOAL To summarize a band in a single document that explains who the band is, places it in its cultural context and shows its legacy. DELIVERABLE Tabloid-sized pdf


83 _ R.E.M., Lana Del Rey

THE REAL CHALLENGE I faced several challenges while making this cultural map. The first one was to identify the most revelant pieces of data that would allow me to build a narative. I set myself up to an even bigger challenge by chosing R.E.M., a band that was active for 30 years. Once my content gathered and edited, I also needed to build connections between data points that would allow users to navigate as they please in a non-linear document. Finally, I needed to use design in order to facilitate navigation and complement information.

HIGHLIGHTED SKILLS Research, editing, storytelling, design.


84 _ Artist profiles FACEBOOK The Facebook channels offers news about the band members and their post-R.E.M. projects. Occasionally, the band will use the page to endorse new artists or post past performances tied to current situations. 3.6 million likes.

PUNK

PAUL MCCARTNEY

PATTI SMITH

THE BEATLES

TE

CHRIS SQUIRE

ROGER MCGUINN

YES

THE BYRD

PAGE 86 DREAMS SO REAL

B-52’s BLUEBILLY GRIT

ATHENS MUSIC SCENE

Michael Stipe (singer) | Pe Mike Mills (bass) | Bill B

R.E.M started in their hometown of Athens, Georgia. They are credited for briging national attention to the local scene in the late 1980’s.

DRIVE BY TRUCKERS

REMHQ.COM

The band’s official site has always been a great resource for fans. It includes a discography, music videos, updated news, links. It also used to include a fan club that closed when the band parted ways in 2011.

PAGE 90

WIDESPREAD PANIC PYLON

1980

LOSING MY RELIGION

Beverly Hills 90210 was one of the first shows to endorse R.E.M. in one of its early seasons. “Losing My Religion” was known as the Brenda/Dylan break up song since Brenda repeatedly played it during her post-break up depression. The song was later covered on Glee.

YOUTUBE

EVERYBODY HURTS

The band’s YouTube channel consists of the band’s music videos, regularly updated live performances, playlist and film projects mainly done by Michael Stipe. 71,590 subsriptions.

MILEY CYRUS

The song was used In numerous TV shows, either humoristically (Family Guy, The Office), or as a blatant tear jerker (My So-Called Life, Glee).

Miley Cyrus covered “Everybody Hurts” during a fundraiser for Haiti.

SHINY HAP

The song wa Street. from th did not understan it as a light-heart to be.

STAND

“Stand” was use credits of the 90 The song w Spam com Weird Al Ya


85 _

K ROCK / PROTOPUNK

Tumblr mainly offers a look at retro R.E.M. memorabilia, unseen pictures and favorite live performances.

THE VELVET UNDERGROUND

ELEVISION

JOHNNY MARR

NIRVANA

THE SMITHS

DS

DEPECHE MODE BUTTHOLE SURFERS

BECK

RADIOHEAD

ALTERNATIVE ROCK

VEVO The Vevo channel offers a collection of the band’s music videos and a list of related artists.

PAVEMENT

R.E.M was one of the lead players in the rise of Alernative Rock in the early 1990’s.

U2

eter Buck (guitar) Berry (drums)

THIRD EYE BLIND BUSH

2011

PPY PEOPLE

The Hype machine channel is made for fans to upload R.E.M. related tracks and share their thoughts on them.

IT’S THE END OF THE WORLD AS WE KNOW IT

PAGE 90

The band guest-starred (after U2) on The Simpsons while homer was singing along with the performance. The song was also song along in a driving scene of the movie Tommy Boy.

as famously parodied on Sesame . R.E.M. later distanced itself he song, stating that the public nd it’s ironic tone and perceived ted song, which it wasn’t meant

MAN ON THE MOON The Andy Kaufman biopic was titles after R.E.M.’s song, which was also used as a promotional single for the movie.

DRIVE

PAGE 88

ed in the opening 0’s sitcom Get A Life. was also turned into a mmercial by parodist Yankovic.

HYPE MACHINE

THREE DOORS DOWN

MYSPACE

EMINEM Eminem borrowed the guitar line from Automatic For The People’s first single “Drive” on his song “Space Bound”.

LAST.FM

The Last.fm page offers a bio of the band, the possibility to stream some songs and a ranking of R.E.M.’s most popular songs (listing Losing My Religion on top of the list).

R.E.M.’s Myspace page looks relatively unused. The channel seems to be used as a networking platform for the people behind it since the band is connected to 39,000 users and is followed by 138,795 users.

R.E.M., Lana Del Rey

TUMBLR


86 _

italicized names

are name of music bands.

Artist profiles

non-italicized names

FACEBOOK

ook channels offers news about the bers and their post-R.E.M. projects. onally, the band will use the page to w artists or post past performances tied to current situations. 3.6 million likes.

has always been a great cludes a discography, d news, links. It also used hat closed when the band

are name of solo artists.

PUN

PAUL MCCARTNEY

PATTI SMITH

THE BEATLES

T

CHRIS SQUIRE

ROGER MCGUINN

YES

THE BYRD

B-52’s

DREAMS SO REAL

BLUEBILLY GRIT

ATHENS MUSIC SCENE

R.E.M started in their hometown of Athens, Georgia. They are credited for briging national attention to the local scene in the late 1980’s.

DRIVE BY TRUCKERS

Michael Stipe (singer) | P Mike Mills (bass) | Bill

WIDESPREAD PANIC PYLON

LOSING MY RELIGION

1980

Beverly Hills 90210 was one of the first shows to endorse R.E.M. in one of its early seasons. “Losing My Religion” was known as the Brenda/Dylan break SHINY HAP up song since Brenda repeatedly played INFLUENCES AND COMPARISONS it during her post-break up depression. The song w The top part of the map presents bands and artists thatThe aresong either to have influenced R.E.M., or that have often wasknown later covered on Glee. Street been compared to the band. Artists are grouped according to the musical movements from which they are associated. from t did not understa YOUTUBE it as a light-hear EVERYBODY HURTS YouTube channel consists to be. s music videos, regularly The song was used In numerous TV e performances, playlist shows, either humoristically (Family


FACEBOOK

PATTI SMITH

THE BEATLES

JOHNNY MARR

DEPECHE MODE

BECK

RADIOHEAD

ALTERNATIVE ROCK

BLUEBILLY GRIT

VEVO The Vevo channel offers a collection of the band’s music videos and a list of related artists.

PAVEMENT

R.E.M., Lana Del Rey

BUTTHOLE SURFERS

DREAMS SO REAL

B-52’s

NIRVANA

THE SMITHS

THE BYRDS

PAGE 22

R.E.M was one of the lead players in the rise of Alernative Rock in the early 1990’s.

ATHENS MUSIC SCENE

Michael Stipe (singer) | Peter Buck (guitar) Mike Mills (bass) | Bill Berry (drums)

R.E.M started in their hometown of Athens, Georgia. They are credited for briging national attention to the local scene in the late 1980’s.

DRIVE BY TRUCKERS

REMHQ.COM

Tumblr mainly offers a look at retro R.E.M. memorabilia, unseen pictures and favorite live performances.

THE VELVET UNDERGROUND TELEVISION ROGER MCGUINN

YES

The band’s official site has always been a great resource for fans. It includes a discography, music videos, updated news, links. It also used to include a fan club that closed when the band parted ways in 2011.

TUMBLR

PUNK ROCK / PROTOPUNK

PAUL MCCARTNEY

CHRIS SQUIRE

_

The Facebook channels offers news about the band members and their post-R.E.M. projects. Occasionally, the band will use the page to endorse new artists or post past performances tied to current situations. 3.6 million likes.

87

show direct influences. They either connect artists to the band if the entire band has admitted to being inspired by such artists, or to a specific band member if such member is the only one who publicly acknowledged them. In this case, guitarist Peter Buck admitted to being inspired by Johnny Marr from The Smiths. double lines

U2

THIRD EYE BLIND BUSH

HYPE MACHINE

THREE DOORS DOWN

The Hype machine channel is made for fans to upload R.E.M. related tracks and share their thoughts on them.

WIDESPREAD PANIC PYLON

1980

2011

LOSING MY RELIGION

Beverly Hills 90210 was one of the first shows to endorse R.E.M. in one of its early seasons. “Losing My Religion” was known as the Brenda/Dylan break up song since Brenda repeatedly played it during her post-break up depression. The song was later covered on Glee.

YOUTUBE

EVERYBODY HURTS

The band’s YouTube channel consists of the band’s music videos, regularly updated live performances, playlist and film projects mainly done by Michael Stipe. 71,590 subsriptions.

MILEY CYRUS

The song was used In numerous TV shows, either humoristically (Family Guy, The Office), or as a blatant tear jerker (My So-Called Life, Glee).

Miley Cyrus covered “Everybody Hurts” during a fundraiser for Haiti.

SHINY HAPPY PEOPLE The song was famously parodied on Sesame Street. R.E.M. later distanced itself from the song, stating that the public did not understand it’s ironic tone and perceived it as a light-hearted song, which it wasn’t meant to be.

IT’S THE END OF THE WORLD AS WE KNOW IT The band guest-starred (after U2) on The Simpsons while homer was singing along with the performance. The song was also song along in a driving scene of the movie Tommy Boy.

MAN ON THE MOON The Andy Kaufman biopic was titles after R.E.M.’s song, which was also used as a promotional single for the movie.

DRIVE

MYSPACE

STAND

“Stand” was used in the opening credits of the 90’s sitcom Get A Life. The song was also turned into a Spam commercial by parodist Weird Al Yankovic.

LAST.FM

The Last.fm page offers a bio of the band, the possibility to stream some songs and a ranking of R.E.M.’s most popular songs (listing Losing My Religion on top of the list).

EMINEM

R.E.M.’s Myspace page looks relatively unused. The channel seems to be used as a networking platform for the people behind it since the band is connected to 39,000 users and is followed by 138,795 users.

Eminem borrowed the guitar line from Automatic For The People’s first single “Drive” on his song “Space Bound”.

TUMBLR

PUNK ROCK / PROTOPUNK

Tumblr mainly offers a look at retro R.E.M. memorabilia, unseen pictures and favorite live performances.

THE VELVET UNDERGROUND TELEVISION

GUINN

JOHNNY MARR

NIRVANA

THE SMITHS

HE BYRDS

DEPECHE MODE BUTTHOLE SURFERS

BECK

RADIOHEAD

ALTERNATIVE ROCK

PAVEMENT

VEVO

The Vevo channel offers a c videos and a list of related

R.E.M was one of the lead players in the rise of Alernative Rock in the early 1990’s.

(singer) | Peter Buck (guitar) (bass) | Bill Berry (drums)

U2

THIRD EYE BLIND BUSH

2011

NY HAPPY PEOPLE

The song was famously parodied on Sesame Street. R.E.M. later distanced itself from the song, stating that the public ot understand it’s ironic tone and perceived a light-hearted song, which it wasn’t meant .

THREE DOORS DOWN

IT’S THE END OF THE WORLD AS WE KNOW IT The band guest-starred (after U2) on The Simpsons while homer was singing along with the performance. The song was also song along in a driving scene of the movie Tommy Boy. dotted lines show indirect connections. In this case, U2 made a guest appearance on The Simpsons, like R.E.M. did shortly after (next page).

MAN ON THE MOON

DRIVE

The Andy Kaufman biopic was titles after R.E.M.’s song, which was also used as a promotional single for the movie.

HYPE MACHINE

The Hype machine channel is ma upload R.E.M. related tracks a thou

LAST.FM

The Last.fm page offers a possibility to stream som of R.E.M.’s most popular s My Religion on top of the


YES

THE BYRD

88 _

are titles of songs from R.E.M. that stuck to the public consciousness for reasons explained underneath.

Artist profiles

underlined titles

DREAMS SO REAL

B-52’s BLUEBILLY GRIT

ATHENS MUSIC SCENE

Michael Stipe (singer) | P Mike Mills (bass) | Bill

R.E.M started in their hometown of Athens, Georgia. They are credited for briging national attention to the local scene in the late 1980’s.

DRIVE BY TRUCKERS

e has always been a great cludes a discography, d news, links. It also used hat closed when the band

WIDESPREAD PANIC PYLON

1980

LOSING MY RELIGION

Beverly Hills 90210 was one of the first shows to endorse R.E.M. in one of its early seasons. “Losing My Religion” was known as the Brenda/Dylan break up song since Brenda repeatedly played it during her post-break up depression. The song was later covered on Glee.

YOUTUBE

EVERYBODY HURTS

YouTube channel consists ’s music videos, regularly e performances, playlist ojects mainly done by Michael Stipe. 71,590 subsriptions.

MILEY CYRUS

The song was used In numerous TV shows, either humoristically (Family Guy, The Office), or as a blatant tear jerker (My So-Called Life, Glee).

Miley Cyrus covered “Everybody Hurts” during a fundraiser for Haiti.

SHINY HAP

The song w Street from t did not understa it as a light-hear to be.

STAND

“Stand” was us credits of the 9 The song Spam co Weird Al Y

MOST MEMORABLE WORK AND CULTURAL LEGACY The bottom half focuses on how R.E.M. has been perceived by the public. It highlights the band's most popular songs and presents the various ways in which some of them have taken a life of their own, either through covers, spoofs or their repeated use on TV shows.


THE SMITHS

HE BYRDS

DEPECHE MODE

BECK FACEBOOK The Facebook channels offers news about the band members and their post-R.E.M. projects. Occasionally, the band will use the page to endorse new artists or post past performances tied to current situations. 3.6 million likes.

B-52’s

The Vevo channel offers a c videos and a list of related

NIRVANA

DEPECHE MODE BUTTHOLE SURFERS

BLUEBILLY GRIT

BECK

RADIOHEAD

ALTERNATIVE ROCK

VEVO The Vevo channel offers a collection of the band’s music videos and a list of related artists.

PAVEMENT

R.E.M was one of the lead players in the rise of Alernative Rock in the early 1990’s.

ATHENS MUSIC SCENE

R.E.M started in their hometown of Athens, Georgia. They are credited for briging national attention to the local scene in the late 1980’s.

WIDESPREAD PANIC PYLON

Beverly Hills 90210 was one of the first shows to endorse R.E.M. in one of its early seasons. “Losing My Religion” was known as the Brenda/Dylan break up song since Brenda repeatedly played it during her post-break up depression. The song was later covered on Glee.

ALTERNATIVE ROCK YOUTUBE

PAVEMENT

MILEY CYRUS

The song was used In numerous TV shows, either humoristically (Family Guy, The Office), or as a blatant tear jerker (My So-Called Life, Glee).

Miley Cyrus covered “Everybody Hurts” during a fundraiser for Haiti.

THIRD EYE BLIND

BUSH

EVERYBODY HURTS

The band’s YouTube channel consists of the band’s music videos, regularly updated live performances, playlist and film projects mainly done by Michael Stipe. 71,590 subsriptions.

U2

Michael Stipe (singer) | Peter Buck (guitar) Mike Mills (bass) | Bill Berry (drums)

1980

LOSING MY RELIGION

2011

R.E.M., Lana Del Rey

The band’s official site has always been a great resource for fans. It includes a discography, music videos, updated news, links. It also used to include a fan club that closed when the band parted ways in 2011.

JOHNNY MARR

THE SMITHS

THE BYRDS

DREAMS SO REAL

DRIVE BY TRUCKERS

REMHQ.COM

VEVO

Tumblr mainly offers a look at retro R.E.M. memorabilia, unseen pictures and favorite live performances.

THE VELVET UNDERGROUND TELEVISION ROGER MCGUINN

YES

_

RADIOHEAD

PATTI SMITH

THE BEATLES

TUMBLR

PUNK ROCK / PROTOPUNK

PAUL MCCARTNEY

CHRIS SQUIRE

HYPE MACHINE

THREE DOORS DOWN

The Hype machine channel is made for fans to upload R.E.M. related tracks and share their thoughts on them.

IT’S THE END OF THE WORLD AS WE KNOW IT

The band guest-starred (after U2) on The Simpsons while homer was singing along with the performance. The song was also song along in a driving scene of the movie Tommy Boy.

SHINY HAPPY PEOPLE The song was famously parodied on Sesame Street. R.E.M. later distanced itself from the song, stating that the public did not understand it’s ironic tone and perceived it as a light-hearted song, which it wasn’t meant to be.

MAN ON THE MOON The Andy Kaufman biopic was titles after R.E.M.’s song, which was also used as a promotional single for the movie.

DRIVE

PAGE 22

“Stand” was used in the opening credits of the 90’s sitcom Get A Life. The song was also turned into a Spam commercial by parodist Weird Al Yankovic.

LAST.FM

The Last.fm page offers a bio of the band, the possibility to stream some songs and a ranking of R.E.M.’s most popular songs (listing Losing My Religion on top of the list).

MYSPACE

R.E.M.’s Myspace page looks relatively unused. The channel seems to be used as a networking platform for the people behind it since the band is connected to 39,000 users and is followed by 138,795 users.

STAND

EMINEM Eminem borrowed the guitar line from Automatic For The People’s first single “Drive” on his song “Space Bound”.

R.E.M was one of the lead players in the rise of Alernative Rock in the early 1990’s. (singer) | Peter Buck (guitar) (bass) | Bill Berry (drums)

U2

THIRD EYE BLIND BUSH

2011

NY HAPPY PEOPLE

The song was famously parodied on Sesame Street. R.E.M. later distanced itself from the song, stating that the public ot understand it’s ironic tone and perceived a light-hearted song, which it wasn’t meant .

HYPE MACHINE

THREE DOORS DOWN

The Hype machine channel is ma upload R.E.M. related tracks a thou

IT’S THE END OF THE WORLD AS WE KNOW IT The band guest-starred (after U2) on The Simpsons while homer was singing along with the performance. The song was also song along in a driving scene of the movie Tommy Boy.

MAN ON THE MOON The Andy Kaufman biopic was titles after R.E.M.’s song, which was also used as a promotional single for the movie.

DRIVE

MYSPACE

ND

and” was used in the opening dits of the 90’s sitcom Get A Life. The song was also turned into a Spam commercial by parodist Weird Al Yankovic.

89

BUTTHOLE SURFERS

EMINEM Eminem borrowed the guitar line from Automatic For The People’s first single “Drive” on his song “Space Bound”.

LAST.FM

The Last.fm page offers a possibility to stream som of R.E.M.’s most popular My Religion on top of the

R.E.M.’s Myspace page looks relatively un used as a networking platform for the peo connected to 39,000 users and is followed


90 _ Artist profiles

FACEBOOK

PUNK ROCK / PROTOPUNK

THE BEATLES

TELEVISION

CHRIS SQUIRE

ROGER MCGUINN

NIRVANA

THE SMITHS

YES

THE BYRDS

DEPECHE MODE BUTTHOLE SURFERS

THE BYRDS

BECK

RADIOHEAD

ALTERNATIVE BLUEBILLY ROCK GRIT

VEVO The Vevo channel offers a collection of the band’s music videos and a list of related artists.

PAVEMENT

DREAMS SO REAL

B-52’s

R.E.M was one of the lead players in the rise of Alernative Rock in the early 1990’s.

Michael Stipe (singer) | Peter Buck (guitar) Mike Mills (bass) | Bill Berry (drums)

80

Tumblr mainly offers a look at retro R.E.M. memorabilia, unseen pictures and favorite live performances. PATTI SMITH

JOHNNY MARR

ROGER MCGUINN

PUNK RO

PAUL MCCARTNEY TUMBLR

The Facebook channels offers news about the band members and their post-R.E.M. projects. Occasionally, the band will use the page to endorse new artists or post past performances THE VELVET UNDERGROUND tied to current situations. 3.6 million likes. TELEVISION

ATHENS MUSIC SCENE

U2 BUSH

REMHQ.COM

Michael Stipe (singer) | Peter Buck (guit Mike Mills (bass) | Bill Berry (drums)

EYE BLIND R.E.M started inTHIRD their hometown of Athens, Georgia. They are credited for briging national attention to the local scene in the late 1980’s. HYPE MACHINE

THREE DOORS DOWN

DRIVE BY TRUCKERS

The band’s official site has always been a great resource for 2011 fans. It includes a discography, IT’S THE END OF THE WORLD music videos, updated news, links. It also used AS WE KNOW IT to include a fan club that closed when the band parted ways in 2011. The band guest-starred (after U2)

The WIDESPREAD Hype machine channel is made for fans to PANIC upload R.E.M. related tracks and share their thoughts on them.

PYLON

1980

2

LOSING MY RELIGION

Beverly Hills 90210 was one of the first shows to endorse R.E.M. in one of its early seasons. “Losing My Religion” was known as the Brenda/Dylan break SHINY HAPPY PEOPLE SHINY HAPPY PEOP up song since Brenda repeatedly played The song was famously parodied on Sesame it during her post-breakLAST.FM up depression. The song was famously pa MAN ON THE MOON Street. R.E.M. later distanced itself The Last.fm page offers a bio of the band, the The song was later covered on Glee. Street. R.E.M. later d from the song, stating that the public The Andy Kaufman biopic was titles possibility to stream some songs and a ranking from the song, statin did not understand it’s ironic tone and perceived after R.E.M.’s song, which was also of R.E.M.’s most popular songs (listing Losing did not understand it’s ironic to it as a light-hearted song, which it wasn’t meant used as a promotional single for the My Religion on top of the list). YOUTUBE it as a light-hearted song, whic DRIVE EVERYBODY HURTS to be. movie. The band’s YouTube channel consists to be. of the band’s music videos, regularly The song was used In numerous TV updated live performances, playlist shows, either humoristically (Family MYSPACE and film projects mainly done by Michael Stipe. Guy, The Office), or asrelatively a blatantunused. tear The channel seems to be R.E.M.’s Myspace page looks STAND 71,590 subsriptions. used asjerker a networking platform for the people behind it since the band is (My So-Called STAND “Stand” was used in the opening EMINEM connected to 39,000 users and is followed by 138,795 users. Life, Glee). credits of the 90’s sitcom Get A Life. “Stand” was used in the open MILEY Eminem borrowed the guitar line from CYRUS The song was also turned into a credits of the 90’s sitcom Get Automatic For The People’s first single “Drive” Miley Cyrus covered “Everybody Spam commercial by parodist The song was also turne on his song “Space Bound”. Hurts” during a fundraiser for Haiti. Weird Al Yankovic. Spam commercial by pa on The Simpsons while homer was singing along with the performance. The song was also song along in a driving scene of the movie Tommy Boy.

Weird Al Yankovic.


91 _ R.E.M., Lana Del Rey

ONLINE PRESENCE AND ACTIVITY R.E.M. has always been highly aware of the changes in the music industry as they are happening. From early on, the band has used the internet to experiment with new ways of distributing music and collaborating creatively. Both sides of the map list the various online platforms that R.E.M. is, or was, active on, how they use such platforms and how many followers they reach on them.

FACEBOOK The Facebook channels offers news about the band members and their post-R.E.M. projects. Occasionally, the band will use the page to endorse new artists or post past performances tied to current situations. 3.6 million likes.

PATTI SMITH

THE BEATLES

JOHNNY MARR

NIRVANA

THE SMITHS

THE BYRDS

DEPECHE MODE BUTTHOLE SURFERS

DREAMS SO REAL

B-52’s

VEVO The Vevo channel offers a collection of the band’s music videos and a list of related artists.

PAVEMENT

R.E.M was one of the lead players in the rise of Alernative Rock in the early 1990’s.

ATHENS MUSIC SCENE

Michael Stipe (singer) | Peter Buck (guitar) Mike Mills (bass) | Bill Berry (drums)

R.E.M started in their hometown of Athens, Georgia. They are credited for briging national attention to the local scene in the late 1980’s.

DRIVE BY TRUCKERS

PAGE 22

BECK

RADIOHEAD

ALTERNATIVE ROCK

BLUEBILLY GRIT

REMHQ.COM

Tumblr mainly offers a look at retro R.E.M. memorabilia, unseen pictures and favorite live performances.

THE VELVET UNDERGROUND TELEVISION ROGER MCGUINN

YES

The band’s official site has always been a great resource for fans. It includes a discography, music videos, updated news, links. It also used to include a fan club that closed when the band parted ways in 2011.

TUMBLR

PUNK ROCK / PROTOPUNK

PAUL MCCARTNEY

CHRIS SQUIRE

U2

THIRD EYE BLIND BUSH

HYPE MACHINE

THREE DOORS DOWN

The Hype machine channel is made for fans to upload R.E.M. related tracks and share their thoughts on them.

WIDESPREAD PANIC PYLON

1980

2011

LOSING MY RELIGION

Beverly Hills 90210 was one of the first shows to endorse R.E.M. in one of its early seasons. “Losing My Religion” was known as the Brenda/Dylan break up song since Brenda repeatedly played it during her post-break up depression. The song was later covered on Glee.

YOUTUBE

EVERYBODY HURTS

The band’s YouTube channel consists of the band’s music videos, regularly updated live performances, playlist and film projects mainly done by Michael Stipe. 71,590 subsriptions.

MILEY CYRUS

The song was used In numerous TV shows, either humoristically (Family Guy, The Office), or as a blatant tear jerker (My So-Called Life, Glee).

Miley Cyrus covered “Everybody Hurts” during a fundraiser for Haiti.

SHINY HAPPY PEOPLE The song was famously parodied on Sesame Street. R.E.M. later distanced itself from the song, stating that the public did not understand it’s ironic tone and perceived it as a light-hearted song, which it wasn’t meant to be.

IT’S THE END OF THE WORLD AS WE KNOW IT

MAN ON THE MOON The Andy Kaufman biopic was titles after R.E.M.’s song, which was also used as a promotional single for the movie.

DRIVE

MYSPACE

STAND

“Stand” was used in the opening credits of the 90’s sitcom Get A Life. The song was also turned into a Spam commercial by parodist Weird Al Yankovic.

PAGE 22

The band guest-starred (after U2) on The Simpsons while homer was singing along with the performance. The song was also song along in a driving scene of the movie Tommy Boy.

EMINEM Eminem borrowed the guitar line from Automatic For The People’s first single “Drive” on his song “Space Bound”.

LAST.FM

The Last.fm page offers a bio of the band, the possibility to stream some songs and a ranking of R.E.M.’s most popular songs (listing Losing My Religion on top of the list).

R.E.M.’s Myspace page looks relatively unused. The channel seems to be used as a networking platform for the people behind it since the band is connected to 39,000 users and is followed by 138,795 users.


92 _ Artist profiles

LANA DEL REY SOUND AUDIT

PROJECT Sonic audit and creative recommendations GOAL To determine how the sound of an artist has evolved in order to make appropriate recommendations, helping this artist to make a difference in the music industry. DELIVERABLE 31-page deck

THE REAL CHALLENGE Like for the previous sonic audit, the main challenge was to consider a vast amount of data, to edit it, to recognize patterns and to present relevant findings. In this book, we will not look at the entirety of the project, but at tools that I used in order to come up with my findings.

HIGHLIGHTED SKILLS Research, editing, storytelling.


93

_ R.E.M., Lana Del Rey


_ Artist profiles

BORN TO DIE

A.K.A LIZZIE GRANT

DEMOS

94

Kill Kill

singles

VIDEO GAMES

BORN TO DIE

STANDOUT ITEMS The following pages shows the various tools that I used in order to tell stories and to streamline extensive data. video

Games

was released

6

months before the release of

born

to

die. by

the time the

album was released, the video had reached a total of

22

million views on youtube.

THE MAN I LOVE

KINDA OUTA LUCK YAYO “yayo”

KEY

a.k.a lizzy grant that was so popular on the internet, it was re-

SINGLE

recorded and re-released on the album paradise.

SIDE PROJECT

Jan 2012

sales indicator

Jun 2011

ALBUM

Elvi

font size proportional to sales

Jan 2010

This map summarizes the highlights of Lana Del Rey’s career, her discograpghy, her influences and the various artists that she has been compared to. right

is a sultry ballad

recorded for the album

Maryli

N


(announced)

ULTRA-VIOLENCE

PARADISE NATIONAL ANTHEM

RIDE

YOUNG & BEAUTIFUL

TROPICO

Portishead Cat Power Kreyashawn

COMPARED TO

because of the vocals, causing the cast of

snl

to spoof the singer in the following episode.

Fiona Apple

gervais.

Britney Spears

SUMMERTIME SADNESS [LANA DEL REY VS. CEDRIC GERVAIS]

Hope Sandoval

BURNING DESIRE

Nirvana

Mazzy Star

sadness” by cedric

Urge Overkill

BLUE VELVET Jack White

Linda Lovelace (actress)

in Monroe

Nina Simone

INFLUENCED BY Peggy Lee

Walt Whitman (poet)

David Lynch (¿OPPDNHU)

Beyonce

Barry James O’Neill

Leonard Cohen Lolita (novel)

Billie Holiday

Betty Boop (cartoon character)

Jay Z

CHELSEA HOTEL NO 2

Brian Ferry with the Brian Ferry Orchestra

Florence + The Machine

Nov 2012

is Presley

SUMMER WINE

Dec 2013

Nancy Sinatra

backlashed

best-

“summertime

Apr 2013

snl

remix of

Late-80’s Madonna Feist

song on

4th

selling track. the dance

Chris Isaak

a live performance of the

a surprising

R.E.M., Lana Del Rey

SUMMERTIME SADNESS

_

BLUE JEANS

95

BODY ELECTRIC GODS & MONSTERS BEL AIR


96 _ Artist profiles

STYLES

A.K.A. LIZZY GRANT

BORN TO DIE

PARADISE

Glam/Surf/Hawaiian Chilled out Laid back Acoustic with occasional synth Soft Old School Road-Tripesque Haunting Extravagant Creepy Childish Raw Grim Indie Moodie, Electro-Tinged indie Pop Moody Bad Late-Night-Thriller Wistful Baby-talking interludes Lynchian unsteadniness Sing-songy Frenzied Brooding Athmospheric Noir pop Erotic Burlesque Glossy Hip Hop beat 1950s torch ballad Sexed-up Melancholic waltz Epic Dark Menacing Gothic

not Present on album

This chart defines the sound of Lana Del Rey’s studio albums based on recurring terms used by critics in music publications. above

noticeable on album

strongly noticeable on album


diet mountain dew

smarty

brite lites

queen of the gaz station

gramma

born to die

raise me uP

jumP

this is what makes us girls radio

BARE

carmen

blue jeans

mermaid hotel little girls for k Part 2

dark Paradise

ORCHESTRAL

burning desire cola body electric

video games gods without you

lucky ones

summertime sadness

&

million dollar man

monsters american ride

blue velvet

kill kill

bel air

yayo (2)

Pawn shoP blues oh say can you see

SLOW

yayo

least selling album a.k.a. lizzy grant

best selling album born to die

album Paradise

single

R.E.M., Lana Del Rey

national anthem lolita off to the races

_

FAST

INSTRUMENTALS

97

This four-quadrant diagram helps to further define the sound of each album by grouping tracks according to two variables: tempo (vertical, slow to fast) and instrumental (horizontal, bare to orchestral). below


98

_

Case studies


99 _ The Fat Team

THE FAT TEAM A Young Glory Participation

TYPE OF PROJECT Advertising competition ART DIRECTOR KAY TRAN ART DIRECTOR CATIEBELLE BULMER COPYWRITER BRADFORD REED HOFFMAN STRATEGIST THOMAS KARABATSOS DELIVERABLE 5 Case studies PERIOD 10-12 2013

THE PROJECT During the summer break, three of my peers from previous classes approached me about the Young Glory competition. They had formed a team and needed a strategist. After a lot of strategy classes, I saw this as a great opportunity to interact with art directors and copywriters again, so I accepted. The Young Glory is a worldwide advertising competition open to professionals, students and just about any type of creative group or individuals. Every month, a different industry leader sets and judges his own monthly brief - giving 30 days to come up ideas. We created The Fat Team. In the following pages, you will find two of my favorite projects.


100 _ Case studies

THE REAL CHALLENGE I soon realized that the Young Glory was not going to allow me to develop strategies based on deep research. Since all of us were already juggling busy schedules, my creatives needed insights as early as the 2d week of work in order to start producing. Reed, Kay and Catiebelle confessed that they came to me for my strong stamina, my insightfulness, my ability to productively headbutt with stubborn people (they all are), and my tendency to set the whole team to high standards. Those skills were quickly put to the test as we started to work on our first brief. As a strategist for the team, my role was to conduct quick secondary research, to lead brainstorming sessions, to identify issues relevant to the brief, to provide inspiring insights, to maintain effective communication between all team members, to coordinate creative processes.

HIGHLIGHTED SKILLS Insightfulness, coordination, communication.


101 _ The Fat Team

BRADFORD REED HOFFMAN Bradford is a writer that actually goes by Reed because he believes Bradford has too many syllables. He also believes the same about syllables and instead refers to them by clapping his hands.

CATIEBELLE BULMER Catiebelle is an art director and illustrator who lives by the motto, “Bad decisions make the best stories”. She also calls pigeons, “city-chickens”.

KAY TRAN Khoi is an art director from Vietnam and dreams of starting his own do-it-yourself pho restaurant. If you inquire about its name he’ll tell you “Go Pho Yourself.”

THOMAS KARABATSOS Thomas, or Tom as we call him, is a strategist that has seen London and France. There’s also a good possibility that while you’re reading this he can see your underpants.

above

The teammates bios as they appear on the team's website. http://thefatteam.com


102 _ Case studies

THE BRIEF "We have seen a recent acceleration of wearable technology the past few years. From Nike Fuel, to Google Glass to Samsung Galaxy Gear. There is no denying wearable technology and the quantified self has arrived. Not just smart phones, but smart glass and a potential multitude of smart connected wearable objects. It is estimated to be a 12 billion business by the end of the year 2018* (source: business insider). So the brief, what wearable technology / service would you like to be seen created? Think blue sky. From work to play, big or small."

LINKEDTAG

LinkedTag is a fantastically smart nametag that establishes a near field communications with your phone. When you wear it, its microscopic motion sensors read and track all of your handshakes. Why? Each time you shake someone’s hand, your LinkedIn information is exchanged, allowing you to network with ease and discard your business cards. above


103 _ The Fat Team

Say hello to another with a “Hello my name is” sticker. You know the drill, write your name on it. sign it

This smart tag establishes a near field communications with your phone. scan it

Mingle up a storm and shake hands. The tag uses motion detectors that respond specifically to handshakes.

THE INSIGHT Networking is intimidating and we shouldn’t have to worry about anything other than making a good impression. Finding the right moment to exchange business cards, using memory tricks to remember names, and pulling out the phones to exchange email addresses are all inconvenient rituals. Networking should be about you.

shake it

Every time you shake someone’s hand, your LinkedIn information is automatically exchanged.

THE IDEA A nametag distributed at networking events that exchanges LinkedIn info whenever you shake hands with someone.

share it

DELIVERABLE Infographic, 28-second video

Of course, when you get home you can review a list of all of those you met and decide whether or not they’re worthy of your LinkedIn network. scope it

http://thefatteam.com/?portfolio=linkedtag


104 _ Case studies

THE BRIEF "Wild tiger numbers are at an alltime low. We have lost 97% of wild tigers in just over a century. Tigers may be one of the most revered animals, but they are also vulnerable to extinction. As few as 3,200 exist in the wild today. Come up with an idea that will stop the killing. Even saving 1 tiger is significant. It MUST work or show potential of solving this problem."

A SEASON FOR TIGERS

THE INSIGHT Although most of us in the U.S. have never seen a tiger in the wild, it’s apparent that we’ve been fascinated with the species when considering how we’ve humanized them throughout history. We’ve made them loveable characters in our movies, put them on our cereal boxes, and used their image to represent our most beloved sports teams. It’s an association that has allowed us to have an emotional connection with tigers even though we may have never even encountered one. So what happens when an entire culture develops a relationship with a real wild tiger? The emotional connection becomes just that much more real.


105 _ The Fat Team

The past century hasn’t been easy on wild tigers. Their numbers have decreased at an alarming rate, and today, they’re at the brink of extinction. That’s why a cross-cultural effort between the Detroit Tigers and Tiger Beer will take place this baseball season.” voiceover

(cont.) During the preseason, Detroit Tiger execs will put together a team of specialists to locate a sick wild tiger in East Asia then relocate it to a local sanctuary where the tiger will receive the necessary treatment to one day be strong enough to be released back in the wild—and the whole rehabilitation process will be filmed. voiceover

When the baseball season begins Detroit Tigers fans will be anticipating the arrival of a new mascot… Then as soon as the Tiger’s hit their first homerun of the season, fans will look up to the jumbotron where they will be introduced to their new mascot, the wild tiger on live-stream from East Asia. We’ll call her Sally. voiceover

(cont.) Meanwhile, the Singaporean beer, Tiger Beer, will sponsor a campaign that provides a long-term solution that helps all tigers. Every hit, strikeout, stolen base, and win will equate various donations from the beer company, which then go into a fund that’s used to restore the tiger’s habitat, and not just hire, but raise the wages of the rangers that protect it. voiceover

(cont.) From the Campaign website fans can see how much money has been raised and checkup on the rehabilitation of their mascot. voiceover

THE IDEA A cross-cultural effort between the Detroit Tigers and Tiger beer that leverages America’s enthusiasm for sports in order to raise awareness for the dire condition of tigers in East Asia. The campaign also works to raise the necessary funds for protecting and preserving their natural habitat. DELIVERABLE 1:57 minute video

(cont.) Finally, for the fans that stay after the last game of the season is a free pint of beer to celebrate the money raised for their mascot’s habitat. Then for just a moment, Tigers of all kinds can celebrate and look forward to helping another mascot in the next season. voiceover

http://thefatteam.com/?portfolio=a-season-for-tigers


106

_

Essay


107 _ Badalamenti & Lynch

THE SOUND OF AMERICAN SURREALISM

The music of Angelo Badalamenti for David Lynch in Blue Velvet, Twin Peaks: Fire Walk With Me and Mulholland Drive. TYPE OF PROJECT School assignment

CONTEXT

CLASS GLA 618_01 The Art of the Film Score

Film scores are an ever-growing part of my music library. When I saw that Bradley Hughes was teaching a film score history class, I jumped on the occasion to take it, although unrelated to the rest of my curriculum. For our final assignment, we were asked to study the music of three films related either by genre, director, franchise, etc.

INSTRUCTOR Bradley Hughes DELIVERABLE Essay SEMESTER Fall 2013

I chose to study the collaboration between director David Lynch and composer Angelo Badalamenti. The pair worked together for most of their respective careers.


108

_

Essay


109 _

Blue Velvet marked a controversial turn in David Lynch’s career. Although it has since come to be seen as an “American Masterpiece”, it was first detested by national critics because it imposed on them a language that they weren’t used to speaking: surrealism. Surrealism is sometimes known as “the language of the unthought” . In the world of cinema, this means that a movie is no longer about what is happening on screen, it is about what its characters, or its viewers, feel. Surrealism is as much of a sensory experience as it is an intellectual exercise. We will later see that Mulholland Drive, a film considered the best accomplishment from both, Lynch and Badalamenti, is the best example of what the genre is about. By the mid-1980’s, surrealism had already had a life of its own in Europe, whether in fine arts or in film (Spanish painter Salavador Dalí and filmmaker Luis Buñuel even crossed disciplines by working together on various projects), but it had yet to cross the Atlantic. Together, Angelo Badalamenti and David Lynch created a new sound for it: the sound of American surrealism.

The sound of American surrealism The movies of David Lynch are known for their crafty merge of music and sound effects. While Badalamenti worked on scoring the pictures, Lynch innovated in sound design with the help of Alan Splet (with whom he had priorly worked on Eraserhead, his first feature film). Splet would record industrial sounds and distort them in order to produce abstract sounds meant to make the viewer uneasy - they are sometimes indissociable from the actual score. Intertwining with the sound effects are Badalamenti’s scores. They almost run wall-to-wall in order to provide most of the auditory narration, since very little room is usually given to dialogues. They slowly carry the viewer along, from one scene to the other, guiding him through a plot that he might not fully understand, but has developed an intuition for. Beyond literal orchestrations, Badalamenti ‘s scores set moods and provide the viewer with insights on the psychological state of the movies’ characters with the use of leitmotivs. Stylistically, the music ranges from lighthearted Jazz and ballroom-esque melodies to dark, suspenseful and disturbing abstract pieces. They also range from retro Americana tunes to timeless and universal mood pieces. Lynch looks for things in music that marry to the idea he is trying to convey. Lynch also frequently used retro pop songs in order to emphasize the American anchorage of the film, giving his soundtracks the ultimate distinction from European surrealism. Lynch, for example, declared having come up with the idea for Blue Velvet after listening to Bobby Vinton’s song of the same title. In fact, he originally wanted to use the hit song in the movie but producers refused, claiming it was too expensive. Badalamenti’s very first gig with Lynch turned out to be an attempt to recreate the song along with the original singer, Bobby Vinton, in order to avoid paying for license fees. It turned out that Vinton, who had aged quite a bit since the original recording, did not sound the same anymore: the innocent, boyish quality of his voice was gone (the innocence and youth of the male protagonist is a central theme of the movie). Badalamenti was therefore hired to train Isabella Rossellini, who played a cabaret singer in the movie, to sing the song. The gig ultimately turned into him scoring the entire picture. Badalamenti is a classically trained composer with a fondness for jazz. He draws inspiration from three classical schools: the Russian school with composers like Dmitri Shostakovich and Igor Stravinsky, the German school with its symphonies, baroque master Johann Sebastian Bach, and film composer Bernard Hermann (Vertigo and other Hitchcock pictures), and the Italian school with Pietro Mascagni, romantic composer Giacomo Puccini and Nino Rota for film music (The Godfather). “David Lynch gives verbal images to describe the music. A vision is not so hard to

Badalamenti & Lynch

Brooklyn-born film composer Angelo Badalamenti and Pennsylvania Academy of Fine Arts graduate David Lynch met on the set of Blue Velvet, Lynch’s fourth feature film, in 1986. They worked together for the rest of Lynch’s career as a director, except for his last effort, Inland Empire in 2006.


110 _ Essay translate into music.” Angelo Badalamenti describes his working relationship with Lynch as an easy one. He would usually get involved on movies prior to shooting in order to come up with a theme for the movie. “What do you want us to feel? What do you want to communicate about the psychological state of the character?” he would ask. Lynch would respond by describing a mood, a set and what happens on screen. While trying to come up with a theme for Laura Palmer, the central character of Twin Peaks, the TV show turned into a movie in 1992 (Twin Peaks: Fire Walk With Me), Lynch painted a scene to Badalamenti that was never in any script, and was never shot. “Imagine you are in the woods. It’s dark. It’s windy. It’s cold. It’s a bit scary. Suddenly there is a girl coming out from behind a sycamore tree. She is slowly walking towards you. She is a teenage girl, a beautiful teenage girl. She comes a little faster. It’s beautiful! It’s beautiful! Oh my god it’s beautiful! And suddenly she starts to fall. She goes back to where she came from like she’s falling. In the dark. Back behind her tree. And it’s dead and empty again.” While listening to Lynch, Badalamenti improvised a few notes on his synthesizer. The theme for Laura Palmer - a beautiful young girl, sexually abused by her own father, who is desperately trying to hold on to her last glimmer of hope before her brutal murder - was born. Musically, the scene translated into slow and dark sonorities that slowly bloom into an uplifting melody, a romantic one even, until they become dark and abstract again. Badalamenti held such a crucial role in defining Lynch’s characters that Lynch made a habit of bringing Badalamenti’s recordings to sets in order to explain their characters to the actors, and to give them a sense of pacing. When he made Mulholland Drive, he went as far as bringing the recordings to the casting sessions. Badalamenti and Lynch had a working relationship that went both ways. They both tried to influence each other. In a surprising reversal of roles, Badalamenti would also frequently provide Lynch with “firewood” in order to give the director some inspiration. He would record abstract sounds for Lynch to play with, sounds that are not really music in the sense that they are not thematic. Lynch would then distort them, slow them down, play them backwards and so on, in order to trigger his own creativity.

Blue Velvet, Twin Peaks: Fire Walk With Me & Mulholland Drive “Blue Velvet is not only a song. It’s a texture” David Lynch Blue Velvet, Lynch’s and Badalamenti’s first movie together ,is the story of a naïve college student (Kyle MacLachlan) who halfreluctantly discovers the sinister underworld of his charming little hometown after he discovers a severed human ear in a field. The movie is a tribute to film noir for which Badalamenti paid tribute to film music legend Bernard Herrmann, who had famously


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The challenge on Twin Peaks: Fire Walk With Me was that both the TV show Twin Peaks and its score already had a following. It was therefore necessary to emulate them, but it was also crucial to depart from them since the movie was to be much darker and sinister than the TV show. This can be heard as early as in the opening credits of the movie. The theme for Twin Peaks: Fire Walk With Me reprises the love theme created for the TV show with a darker tone. A bluesy saxophone has replaced the antsy jazz notes from the original theme. It is slower, sadder, and more sexual. Fire Walk With Me is a prequel to the TV show that follows Laura Palmer (Sheryl Lee), who was found dead on the first episode of the TV show, during the week that led to her murder. The movie is divided in two parts, much like its score. The first third of the movie shows a related investigation that took place a year before Laura’s death. Although almost none of the characters involved were characters from the show, it is the part of the movie that is the most faithful to the show’s atmosphere. The music is anchored in Americana, upbeat and jazzy, conveying the awkward sense of comedy that made the show the sensation that it was. The end of this first part is marked by both Badalamenti and Lynch giving their goodbyes to the lighthearted comedy by paying the ultimate tribute to the TV show: the music from the opening credits plays on a shot of the road sign that says “Welcome to Twin Peaks, population 51201”. From then on, the music of the last two thirds of the movie, the last week of Laura Palmer, is much darker and at times surprisingly mellow. The movie has long been criticized for its music during a scene in which Laura and her best friend Donna are at a bar, taking drugs, drinking, smoking and making out with bikers in leather jackets. The hammering and repetitive hard rock tune that plays during the scene was said to be so loud that people could not hear any of the dialogue - which is true, but intentional. In the scene, Laura sees her naïve best friend Donna, the ultimate good girl, going down the same self-destructive path that Laura is on. Feeling responsible and remorseful about it, she painfully tries to put some sense into her friend and to take her away. She feels like she has lost control of the situation and is taking her friend down with her. The music being so loud makes it almost impossible for Laura to talk to her friend, making her loss of control even more obvious to the viewer, which ultimately matters much more than anything she could have said. The movie eventually ends on an a highly emotional four-minute scene with no dialogue, that is mainly a close up of Laura’s face from the other side, as she sees the angel that came down on earth to welcome her. The scene relies entirely on the music and on Sheryl Lee’s acting to convey enough nuances for the viewers to sit all the way through it and to emphasize with the character. Laura starts off puzzled, not understanding where she is before she starts to sob in pain. She sees the angel that she had stopped believing in coming down from the sky to get her and she starts to laugh and cry hysterically, finally finding in death the relief and beauty she was so desperately looking for. This type of dark introspection was taken a step further in Mulholland Drive, Badalamenti’s and Lynch’s last film together, which is also considered by many the most successful. Ultimately, Mulholland Drive is the story of a failed actress, Diane (Naomi Watts), who hires someone to kill her promiscuous and more successful girlfriend (Laura Harring), except that, in pure surrealist tradition, the viewer is told another story almost all the way throughout: the story of how Diane wishes things had happened as she copes the guilt that will lead her towards suicide. The movie was intended to be another TV show, like Twin Peaks, but

Badalamenti & Lynch

scored Alfred Hitchcock’s most famous pictures. Upon the release of the movie, Critic John Alexander said that “The haunting soundtrack accompanies the title credits, then weaves through the narrative, accentuating the noir mood of the film.” Paul Attanasio of The Washington Post also said that “the film showcases a visual stylist utterly in command of his talents” and that Angelo Badalamenti “contributes to an extraordinary score, slipping seamlessly from slinky jazz to violin figures to the romantic sweep of a classic Hollywood score”. In pure Lynch’s style, the score to the movie is a dark combination of classic composition and vintage/modern pop songs to reflect the timeless setting of the movie. Orchestrations are dense, melodies are dark, and there is an omnipresent sense of danger lingering in even the most peaceful notes of the score.


112 _ Essay studios eventually decided to turn the pilot into a two-hour movie. Badalamenti, who was on board since the earlier stages of the project, said that there is no difference between scoring a TV show and a movie, except for the budget attached to the project. As a composer, you get equally involved in either type of score, but you get to do it with more than with twice the means when you get to work on a movie project. Therefore, Badalamenti got to write eighty extra minutes of compositions when he was told the show was going to end up on the big screen, making the music for Mulholland Drive almost wall-to-wall. “This is it! This is Mulholland Drive!” David Lynch For the movie, Lynch wanted a moody main theme that was dark and mysterious but also beautiful. He wanted a theme he could use in different moments of the movie in different ways, just by slightly changing the orchestration. “It should be a strong dark Russian type theme”, he said. Badalamenti composed the main theme on a kong synthesizer using the same analog string pad that he used on all Lynch films. Badalamenti tweaked the synthesizer in order to take the edge off on top sounds (higher sonorities), which produced the mysterious deep sound the movie is known for. He played it slowly to David Lynch and the movie found its identity. Lynch’s fans soon recognized that the theme was very similar to Laura Palmer’s theme on Twin Peaks. Apparently, Badalamenti was so obsessed with Laura’s theme that he took the opportunity that was Mulholland Drive to pursue his musical idea on a larger scale with a symphonic orchestra. For it, he used several layers of low instruments, basses, clarinets and bassoons, building up to a very abstract and surreal melody. As always, this dark sound is contrasted by upbeat Americana tunes, most noticeably the jitterbug that plays during the opening credits. “We need something like the 1940’s big bands, a swing like Glenn Miller’s In the Mood. Write it an make it abstract and bluesy.” This is the tune meant to immerse the viewer into the dream most people share when they land in Hollywood, a dream of glamour and fun, and a throwback at the Golden Age of Hollywood. To compose the jitterbug, Badalamenti used a piano, a bass, drums, a few different saxophones, trombones and a moody trumpet. During the recording session, Badalamenti complained that he could not hear the drums and later on found out that it was because the microphone was misplaced. He also found out that the drummer was a genius, as he calls him, and ended up making the drums much more prominent than they were ever intended to be. The only romantic piece in the movie plays early on when Diane (or Betty as she calls herself in her fantasy) drives for the first time by the Hollywood sign. The music is melodic and the harmony is beautiful. This is meant to emphasize how naïve and innocent she was when she first arrived to Los Angeles. Mulholland Drive also marked Badalamenti’s first and only effort as an actor, expanding the creative relationship between him and Lynch even further. David Lynch asked Badalamenti to be in a scene of the film after Badalamenti had told him an anecdote that had happened to him and that inspired the writing of the script. This is how Badalamenti ended up in a very tense, yet hilarious scene, acting as a Mafioso with a strict fetish for espresso. For his last film as a director, Inland Empire, Lynch decided to compose himself most of the music, ending his collaboration with Angelo Badalamenti. The movie did not get the success that was anticipated, causing critics to compare Lynch and Badalamenti’s working relationship to the relationship between Alfred Hitchcock (one of Lynch’s idols) and Bernard Herrmann (one of Badalamenti’s idols): a relationship of codependence that achieves heights that neither the composer or the director could achieve on their own.


113 _ Badalamenti & Lynch

Sources The Mysteries of Love, Dir. Jeffrey Schwarz, MGM, 2002 Blue Velvet, Dir. David Lynch, MGM, 1986 (blu-ray features) Mulholland Drive, Dir. David Lynch, Studio Canal, 2001 (European blu-ray features) “Close Up - Angelo Badalamenti”, Screen International Kern, Edith, Surrealism: The Language of the Unthought. Long Island: Hofstra University, 1975


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Personal plan


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PERSONAL PLAN


116 _ Personal plan

I am stimulated by creativity as much as I am by rationality. Working on the projects presented here, I found myself gravitating towards qualitative research, which I believe sets a strong foundation not only for a creative campaign, but also for a successful product. I recently had the chance to lead qualitative research as part of the development of a mobile application and I would like to explore similar opportunities as I start my advertising career.

LAUNCHING A CAREER I am looking for an in-house position within a company's strategy department. An ideal position would allow me to investigate how to improve a product, as well as how to effectively launch and advertise it.

LIFELONG ACCOMPLISHMENT The movie industry is currently undergoing tremendous change. New ways of making and distributing movies, for example, are constantly emerging and being tested by those inside and outside the industry. The industry's biggest challenge is therefore to find creative ways to utilize technology in a way that services creativity. Eventually, I would like to use my strategy skills, armed with research and development experience, to help define the future of the industry that most nourished my creative side, so that once again I'm able to say "Kim Basinger made me do it".


Thomas Karabatsos - Portfolio  

A portfolio of strategy in advertising.