Fish Story

Here's a story with a hook.

Skift reports SeaWorld's CEO, after denying his employees posed as animal rights activists to infiltrate PETA, has admitted to conducting a covert operation.

In a report to stockholders, Joel Manby acknowledged corporate spies were sent by SeaWorld "to maintain the safety and security of employees, customers and animals in the face of credible threats.”

But a PETA spokesperson says SeaWorld sent agents provocateurs to bait PETA's people.

“SeaWorld’s corporate espionage campaign tried to coerce kind people into setting SeaWorld on fire or draining its tanks, which would have hurt the animals, in an attempt to distract from its cruelty and keep PETA from exposing the miserable lives of the animals it imprisons,” Tracy Reiman said.

SeaWorld's spokespeople have clammed up, claiming further comment would disclose "confidential business information related to the company’s security practices."

SeaWorld has been angling to fix its damaged brand for three years, after the movie Blackfish sent park attendance reeling and put profits in the tank.

As a case study in floundering PR, this one's a keeper.

Creativity Carries a Big Stick

“You can’t wait for inspiration, you have to go after it with a club,” Jack London once said.

Creative problem-solving is a free-for-all, as creative problem-solvers know.

It's toilsome work that British psychologist Graham Wallas said, in his 1926 book The Art of Thought, unfolds in four stages:

Preparation. The problem-solver acts like a hunter/gatherer, finding and grabbing materials she can use to construct new ideas.

Incubation. The problem-solver takes an indefinite time out. "The period of abstention may be spent either in conscious mental work on other problems, or in a relaxation from all conscious mental work," Wallas says.

Illumination. The problem-solver arrives at the eureka moment. That moment, Wallas says, is "the culmination of a successful train of association, which may have lasted for an appreciable time, and which has probably been preceded by a series of tentative and unsuccessful trains."

Verification. The problem-solver hunkers down to serious work "in which the results of the inspiration are verified and the consequences deduced."

The four-fold process may be serial, but creative problem-solving isn't, Wallas says.

Creative problem-solving proceeds like music, with wandering and overlapping parts.

"In the daily stream of thought these four different stages constantly overlap each other as we explore different problems. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect."

Poser = Loser

Authenticity isn't a strategy, says "hippie marketer" Tad Hargrave, so "stop trying to be so authentic."

Authenticity isn't a target or a tagline or a tone; and you can't get it by posing.

"There’s the old story of the archer who misses his shot because his eye is on the trophy he wants to win and not the bullseye," Hargrave says.

Forget authenticity. Aim, instead, for transparency.

If your organization is sales driven, be salesy. If it's tech focused, be geeky. If it's bureaucratic, be stately.

To win customers' trust, first trust yourself.

By playing a game of bait and switch, posers wind up losers.

Customers aren't gullible.

As Mad Man David Ogilvy said, "The consumer isn’t a moron; she is your wife.”

Where Do You Draw the Line?

Admirable work only results when creatives draw the line, Seth Godin says in his recent post, "Milton Glaser's Rule:"

"There are few illustrators who have a more recognizable look (and a longer productive career) than Milton Glaser," Godin says. 

"Here's the thing: When he started out, he wasn't THE Milton Glaser. He was some guy hoping for work.

"The rule, then, is that you can't give the client what he wants. You have to give the client work that you want your name on. Work that's part of the arc. Work that reflects your vision, your contribution and your hand.

"That makes it really difficult at first. Almost impossible. But if you ignore this rule because the pressure is on, it will never get easier."

Agency exec Bill Kircher (my former boss) used to spout similar adages when the pressure was on. I'll sum them up in a rule I'll call "Kircher's Law:"

Whenever an agency bows to a client's creative direction, the probability of later incrimination approaches 100%.

Although creatives are quick to cite their duty to themselves, the truth is, every professional shares the right to draw the line.

Remember the film The King's Speech? 

Early in the story, the therapist draws the line with a haughty Queen Elizabeth: "Sorry, this is my game, played on my turf, by my rules."

But with prerogative comes accountability. You can't have your kingly cake and eat it, too. 

Do you:

• Respect everyone, coworkers and clients alike?
• Arrive on site ready to work?
• Tackle chores that need to be done to stay in business?
• Avoid short cuts and excuses?
• Learn from mistakes?
• Consider how your decisions affect the company, not just your department or career?
• Speak truthfully and with the passion of an owner?

Do you—where do you—draw the line?

Pandemonium? Blame the Media.

Presidential politics rides a wayward bus.

It's named Media.

Media revolutions drive voters away from party élites, as historian Jill Lepore says in her article about populism in The New Yorker.

Lepore looks back at party upheavals of the early 19th century.

Although slavery was the big issue, the rise of populism was driven by revolutions in media:

• In the 1830s, advances in printing brought down the cost of a newspaper to a penny;

• In the 1840s, newspapers began to get news by telegraph;

• In the 1850s, newspapers began to include illustrations based on photographs.

"For a while, party élites lost control, until the system reached equilibrium in the form of a relatively stable contest between Democrats and a new party, the Republicans," Lepore says.

Then came the 1890s, when occurred another populist revolt, "which took place during another acceleration in the speed of communication, brought about by the telephone, the Linotype, and halftone printing, technologies that allowed daily newspapers and illustrated magazines, in particular, to carry political news faster, and to more readers, than ever before."

In the same decade, color printing appeared, which gave rise a nationwide "poster craze." Campaign posters papered every wall of every building, in every city; and every candidate "ran as an outsider."

Oddly enough, the 20th century was saner. 

Although voters saw the introduction of phonograph records, radio, weekly magazines, movies and TV, media's power to propel populists waned. 

"Despite the upheavals of the Depression, the Second World War, the Cold War, and Vietnam, the era of national newsmagazines, newsreels, and network broadcasting was a period of remarkable party stability."

But with the advent of mobile phones and the Internet, populism is again heating up.

"The American party system is not only a creation of the press; it is dependent on it," Lepore says. 

"It is currently fashionable, indispensable, even, to malign the press, whether liberal or conservative. But when the press is in the throes of change, so is the party system. And the national weal had better watch out. 

"It’s unlikely, but not impossible, that the accelerating and atomizing forces of this latest communications revolution will bring about the end of the party system and the beginning of a new and wobblier political institution. 

"With our phones in our hands and our eyes on our phones, each of us is a reporter, each a photographer, unedited and ill judged, chatting, snapping, tweeting, and posting, yikking and yakking. 

"At some point, does each of us become a party of one?"