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“Hey, no pictures!” the artist barked at the teenage girl, who was maybe 15. “I have signs all over!”

The not-so-prominent sign (singular, not plural, by the way), read “No photos please” with an image of a camera and one of those red circles with a line through it over the camera.

I stumbled into this scene while popping in and out of artist booths at the King Street Art Festival in Alexandria, Virginia. The booth in question featured a collection of ceramic statues, mostly 6-inch tall men, each painted in a single bright color, scaling the walls of the booth with the aid of a metal wire. (I’d have included a picture so you could see what I’m talking about but, in the words of Ace of Base…nevermind.) I’d seen similar statues in the past and they’d always spoken to something in my unsophisticated artistic sensibility, so I wandered in to get a sense of pricing, and see what else the artist had in his collection.

The collection included a bucket affixed to the wall, with a swarm of butterflies arranged to look like they were flying out of the bucket; a wavy line of five or six tiny bicycles, made to look like they were trekking up and down a hilly course; and a few other shapes, such as cats and dogs, that I thought might have looked cool hanging on (or from) the wall in my home office. Hey, it gets lonely in there!

The artist was in the booth answering questions from prospective buyers when, out of the corner of his eye, he saw the teenage girl take out her phone to grab a snapshot of one of the climbing men. She was probably going to post the picture to her various social media profiles to document her experience that day at the art show. I imagine this was not the first booth where she thought to take a picture.

When the artist yelled at her, she meekly apologized and scurried out of the booth, embarrassed. The artist, without missing a beat, continue to talk to more important customers. (I was not included in that group, BTW.)

I thought about the incident over lunch. My initial reaction was that I didn’t fault the artist’s instinct to protect his intellectual property. While colorful statues of the human form (climbing or otherwise) is hardly the most novel artistic work ever conceived (as I said I’d seen similar statues in the past), it’s his work, and he wants to make sure no one else sees it online and copies what he’s doing, thus cannibalizing his potential customer base.

However, here’s where I think he’s in the wrong: 1-Don’t yell at a child that’s not yours unless they’re breaking your statues. A polite warning (“Please don’t take pictures inside this booth. Thank you.”) would have gotten your message across. 2-The young girl was probably going to post the photo on social media because she liked it and thought others might like it, too. Besides her buying the statue, that’s probably the best possible outcome for him. Instead of trying to stop people from taking photos of his art, he might have considered switching out his “no photos” sign for a sign that included any social media accounts or handles associated with his name, art collection, company, or studio. As it was, he didn’t have any cards or contact information, even a website. I believe I heard him say he only sells his work at art shows.

Now, is it more likely that one of the girl’s social media contacts would see the her post and say, “What a great idea for a statue–I’m going to copy his idea and make a huge profit!” or, “What a great idea for a statue–I’d like to buy one!” I’m betting it’s the latter.

Perhaps it’s because I work for Ypulse, a market research company specializing in Millennials and Generation Z, that I often find myself trying to view the world through younger eyes than my own. (At age 35, I’m a “cusper” Millennial, but I tend to identify more with Generation X.)

Many of the other artists had “no photos” signs hanging from their booths, and I don’t necessarily blame them. If someone took a screenshot of this blog post and posted it on social media without attributing it to me–or copied the text and posted it on their own blog–I wouldn’t be too happy about it. But if I made it as easy as possible for people to share my content, while still crediting me, isn’t that my intended result, to have as many eyeballs as possible reading what I write?

I can hardly point to this incident as a bellwether for a larger trend around how young people in 2017 consume art. Nor do I have any insight into whether photos taken at art festivals actually do have a negative impact on lesser-known artists trying to sell their art. For example, is a person less likely to buy a piece of art for their home if they can simply “own” the image by posting it to Instagram? I doubt it, but I suppose it’s possible.

What I do know is that the teenage girl did not intend to bring negative consequence to the artist, but he treated her as if she was single-handedly trying to crumble his 6-inch tall empire. And even though I liked his art, and was strongly considering buying a piece of it just a few minutes earlier, witnessing that interaction was enough to make me walk away without opening my wallet.

Oh and by the way, if I had bought one of the statues, I probably would have posted it to social media. So, what did the artist actually accomplish in the end?

One more thing
The local art league used a smart fundraising tactic at the festival, which I thought was worth an honorable mention. Partnering with a local ice cream shop, they were selling handmade ceramic bowls for $15, which included a free scoop of ice cream on a hot day. Someone at the art league might have a bright future in marketing!

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Spoiler Alert: Lots and lots of spoilers! If you haven’t listened to the S-Town podcast, and don’t want major details of the story ruined for you, please avoid reading this post. You’ve been warned. Seriously though this will totally ruin it for you so don’t read it.

Over the weekend my wife and I devoured all seven simultaneously-released episodes of S-Town, the new podcast from Serial and This American Life which launched on March 28.

The following hastily-written-and-probably-too-long blog post encapsulates my initial reaction after listening to all seven episodes straight through over three days. It’s not an episode recap; I haven’t spoken to anyone else about S-Town except for my wife; and I haven’t looked up anything about what critics or fans have said about it so far. As a result, I may get some of the details wrong, but these are some of the questions I thought about over and over again after finishing S-Town.

Why did Serial and This American Life launch the series the way they did?
I had no idea S-Town was even coming out. I may have read some rumblings about a season 3 of Serial at some point, but when my wife told me she just found out the third season had just been released, I didn’t believe her. It turns out she was right–sort of.

S-Town was apparently produced by Serial and This American Life, but was not being billed as Serial s3. Instead, S-Town is its own free-standing, seven-episode podcast. Here’s the description of S-Town from its official website:

John despises his Alabama town and decides to do something about it. He asks a reporter to investigate the son of a wealthy family who’s allegedly been bragging that he got away with murder. But then someone else ends up dead, sparking a nasty feud, a hunt for hidden treasure, and an unearthing of the mysteries of one man’s life.

I subscribe to about 20 podcasts, many of them produced by NPR, so it was hard to believe a new podcast like S-Town, with public radio pedigree, would have flown under my radar.

Was this intentional?
Part of what made Serial’s first season so successful–besides that awesome Mail Chimp sponsorship–was that it came out of nowhere. Most listeners didn’t know anything about the story of Adnan Syed, they likely hadn’t heard of Sarah Koenig, and some probably hadn’t ever listened to a podcast before. Then Serial punched us in the face with some of the best storytelling you’ll find in any medium, and we were blown away.

On the heels of a great season 1, season 2 had high expectations. Some fans, including myself, even donated money to NPR/Serial to help Koenig make season 2. Without getting into detail about why season 2 was disappointing, suffice it to say it was a letdown for most fans expecting as compelling and labyrinthine a story as we got in season 1.

For those reasons, perhaps, Serial and TAL decided to keep a low profile, and release S-Town as own entity, with little fanfare and only a loose connection to Serial–allowing fans like me to go in with tempered expectations. To borrow a five-dollar word from S-Town’s subject, John Brooks McLemore, I’m guessing producers saw what happened with s2 and took a proleptic* approach to S-Town’s release to guard against such high expectations and let S-Town be judged on its own merit.

*Prolepsis: a rhetorical tool in which one anticipates possible objections in order to answer them in advance. John B uses this word in the first episode; Brian admits he had to look it up.

And why all seven episodes at once?
I go back to the failure of s2 of Serial again on this one. The reporting of the story as they learned it was what made Serial s1 so great, but s2 felt like it was poorly planned, with the cadence of new episodes changing from one week to two, as they were simultaneously updating us (and then not updating us) on the story from s1. I believe they released all seven episodes of S-Town to “prove” that the story had been fully reported on and was now a completed season we could consume all at once or spaced out however we want. This isn’t a new tactic; Netflix does this all the time with its original content. I wouldn’t be surprised if they realized Serial s3 the same way.

What was the actual timeline for the events that take place in S-Town?
From what I recall, John B first contacted Brian in 2014, they had a phone call a few months later, and eventually Brian went to visit John B in Alabama. I believe the first visit was at some point in 2015.

S1 of Serial ran from October to December 2014. Did John B contact NPR, or Serial, during that season or after? Did the reporters and/or producers involved think they might use John B’s alleged claim about an unreported murder as a season of Serial? If not, it seems strange that Brian would even bother to investigate John B’s story–though when I heard John B and Brian’s first phone call, I assumed he was providing accurate information.

And how deep into the story did Brian decide that John B’s story was podcast-worthy? And how did he decide to continue reporting after John B’s claims had been proven false? Why did he decide to continue reporting after John B died? Did he wait until he had everything he needed before deciding how to organize the information and tell the story across seven “chapters”?

I guess the question I’m really asking is…

Did Brian just get really lucky that John B–in life and in death–was as interesting as he was? Or does Brian–and the people who sign his checks–deserve credit for sticking with the story?
Like any other successful endeavor in life, it seems like this was a combination of luck and skill. Brian’s reporting of this story is tremendous, but the story of John B. McLemore was delivered on a silver platter. But give him credit for seeing that silver platter under a ratty Benjamin Moore t-shirt.

Did John B really call Faye as he was committing suicide? 
Maybe Serial s1 trained me to question everything, but without a call log or audio of John B calling Faye, I’m not 100% convinced he did. Faye doesn’t really give us a reason to doubt her, except that she didn’t get in touch with the first seven people on John B’s contact list–which he hand-delivered to her for this very reason–to let them know John B had died. Was this forgetfulness or laziness on her part? Was John’s lawyer, Boozer Downs, involved somehow in some sort of cover-up?

Or is the more logical explanation simply that Faye unintentionally let the task of calling John B’s contacts fall through the cracks? Given how much John B entrusted Faye to carry out his posthumous requests, I just can’t get past this error, but the idea that it was part of a greater conspiracy to steal from him seems far-fetched.

Did Tyler steal the gold? Was there any gold? What did he tell Brian off the record in the final episode?
I kept going back and forth about whether there was any buried treasure, but if anyone knew about it besides Faye (who said it John B had gold bars wrapped in a towel in the freezer) I figured it would be Tyler. Did he take it when he went to the house to gather John B’s valuables so the Florida cousins couldn’t get to them?

When Brian asks Tyler if he ever found the buried treasure, and Tyler asks him to turn off the recorder before answering, it’s implied that he found something. I’d almost rather not know this conversation took place if I can’t know what was said!

Was Tyler a con-man? Was he feigning affection for John B, knowing he could take advantage of the situation? Did Tyler egg John B on to kill himself while he was drunk, as Rita (the Florida cousin) suggested?
I don’t think Tyler was there when John B killed himself, and I think he may even be telling the truth when he said he refused to go over to John B’s the night he killed himself, even after John B told Tyler he was going to commit suicide.

I do wonder if Tyler was fed up with John B after we learned about John B’s “church” ritual of asking Tyler to mutilate his body with tattoos, piercings, and later whippings. If I’m Tyler, I might have taken a little something for my trouble after John B had passed away, knowing I’d more than enough to earn it.

So are we just assuming John B’s depression was brought on by mercury poisoning from his unsafe practice of fire-gilding over 30+ years?
It certainly seems that way, but I can’t help but wonder if Brian asked five other doctors, he might find a few who would say John B was just depressed, and they couldn’t conclude with certainty that it was related to the mercury. Of course it doesn’t really matter except to add yet another layer of complexity to an already complex character.

How should we take the information delivered in Brian’s coda?
After we hear an excerpt from John B’s suicide note, we assume the series is over. But then Brian layers one remaining piece of information that may or may not color our view of John B, Shit Town, and really the whole story we just heard.

When Brian tells us that John B’s great-grandfather built his fortune on the backs of the neighbors he stole from, he’s implying, in my view, that John B’s expansive patch of land, his home, his garden maze, and every material possession he has–including, perhaps, some hidden gold–was ill-gotten.

Does Brian want us to think John B is a hypocrite, that for all his rants about his town’s state of dysfunction, it was people like his own great-grandfather that made it this way? Or does this answer the question of why John B, for as much as he hates Shit Town, has never left? Or why he’s driven to right all the perceived wrongs of his fellow man, including those in his town, as a way of canceling out the evil deeds of his family?

I agree with the decision to save this information for later in the story, so that it doesn’t bias us against John B and we’re free to form our own opinion of him regardless of what his family did three generations before. But I might have liked some more detail around his family history. I wonder if Brian found this information too late to add it somewhere else in the story, so he stuck it at the end.

What was S-Town? And was it good
Genres are tricky sometimes. People starting calling Serial a “true crime” podcast, and it was, but the real-time nature of it, the way the story evolve as Sarah Koenig told it, made it something special.

Was S-Town simply a biography of an unusual man started when he was alive and finished after he died? Was it an obituary? Or was it simply an experiment in storytelling, in audio journalism?

I kind of don’t care what it was. And I don’t care that we don’t really have a resolution about John’s hidden treasure, or Tyler, or Faye, or the cousins, or even John’s mother, Mary Grace, who was supposedly flourishing once she was out of John B’s care.

Having been trained by Serial to follow a story so closely for months, only to be deprived of the closure I knew all along I wouldn’t get, I didn’t expect closure with S-Town, either. But I went along for the ride anyway, and I was glad I did.

What did you think?

Vote with your clicks, with your sponsorship, with your bookstore dollars. Vote with your conversations, with your letters to the editor, by changing the channel. –Seth Godin

For the last few years I’ve been a huge fan of the Under Armour brand. There was something about their marketing, their spokespeople, their attitude, and the apparel itself that spoke to me.

I read news stories about how Stephen Curry, one of the NBA’s biggest stars and the face of the Under Armour brand, had been half-heartedly pitched by Nike—they mispronounced his name, which sounds like “Steph-in,” not “Steph-on”—before choosing Under Armour as his endorsement partner. And I ate it up.

I even read stories about how the company’s founder and CEO, Kevin Plank, started the company by selling sweat-wicking athletic t-shirts out of the trunk of his car. A true boot-strapper, an American success story, taking it to Nike. What was not to like?

I bought so much Under Armour gear you would have thought I owned stock in the company (which I do).

Fast forward a few years to last week, when a story broke about the CEO, Kevin Plank, and his comments as a new member of President Trump’s American Manufacturing Council. Plank told CNBC: “To have such a pro-business president is something that is a real asset for the country.”

That was, apparently, a mistake.

Plank has since faced backlash from Curry* not to mention two other big names under the Under Armour flag: Dwayne “The Rock” Johnson and Misty Copeland. Under Armour eventually released a statement clarifying Plank’s and the company’s position, but the damage had been done. [EDIT: Since posting this on February 14, the story continues to evolve. Under Armour’s CEO, Kevin Plank, took out a full-page ad in the Baltimore Sun on February 15 to write an open letter to Baltimore, where UA is headquartered, clarifying his previous statements about President Trump.]

*Curry said he agreed with Plank’s comments, if you take “asset” and “remove the -et.”

I started writing this piece a few times, including the day after Pennsylvania-based construction supplies retailer 84 Lumber aired a controversial, seemingly pro-immigration ad during the Super Bowl. Its CEO, Maggie Hardy Magerko, a Trump supporter, then came out and said the commercial wasn’t necessarily promulgating a pro-immigration message, so much as a vaguer, “that through struggles we will do anything we possibly can to make [the world] a better place for our children” message. In other words, 84 Lumber paid at least $10 million for a Super Bowl ad, the result of which is a lack of understanding of what it meant.

I could have written this piece even earlier, following the #DeleteUber movement in late January, when the on-demand taxi app caught flack by undermining a cab driver strike at JFK Airport in New York, in response to President Trump’s short-lived executive order on immigration (a.k.a the “Muslim ban”). Consumers were outraged that while cab drivers staged a work stoppage to draw attention to the ban, Uber was still sending its fleet to the airport—and charging higher rates, a.k.a. “surge pricing”—during the ban to capitalize on the lack of competition due to the strike. In response, hundreds of thousands of Uber’s (ex-)customers deleted the app from their phones.

When I heard about #DeleteUber, I rolled my eyes as I often do when I catch wind of this sort of slacktivism. Will it really make a difference?

Uber isn’t a publicly traded company, so we don’t know whether the company’s value took a hit (more on that later), but #DeleteUber certainly had a ripple effect:

  1. Uber’s biggest competitor, Lyft, smelled blood in the water and pledged to donate $1 million to the American Civil Liberties Union over the next four years. (The ACLU was in the news at that same time for its lawyers storming American airports to offer pro bono council to Muslims affected by the ban.)
  2. Uber set aside $3 million for a legal-defense fund to support drivers.
  3. Uber’s CEO, Travis Kalanick, facing consumer and employee pressure, stepped down from President Trump’s economic advisory council.

So, did some silly slacktivism campaign actually move the needle in any significant way? Hell yes.

My friend Elliot has taken to calling this “commercial activism,” a.k.a. voting with your wallet. Perhaps the most prominent recent example is Nordstrom, which announced it would stop selling Ivanka Trump’s clothing line. (President Trump famously replied to this news via Twitter.)

Nordstrom said sales of the eponymous brand have plummeted over its past fiscal year, and that this was purely a business decision. If that’s true, and people are exercising commercial activism in response to a president whose beliefs and policies oppose their own, then we’re seeing something special here. And we should expect a lot more of it moving forward, regardless of who (or even which party) is in the White House.

Brands like Patagonia pride themselves on doing the right thing, particularly from an environmental perspective, by encouraging people to “buy less” of their clothing rather than wastefully replacing their coats after a few years when all then need are a few minor repairs. (I know this to be true from personal experience: I once brought in an old Patagonia coat to one of their retail locations to be repaired; instead, they offered to take my old coat and let me select a new one right off the rack.)

While it’s a unique and interesting time from a business perspective to think about how brands might align themselves politically to put themselves in the best possible positions financially, for me it raises lots of questions.

For example, would (or should) a left- or right-leaning CEO or brand intentionally manipulate its marketing messaging against its own core beliefs if they thought it would help them sell more widgets? If they did, is that unethical?

And circling back to my earlier example, should Kevin Plank’s (the Under Armour CEO) comments dictate whether I continue to buy Under Armour’s products if I don’t agree with Plank’s political views? What if Plank supports Trump, but his employees—including the spokespeople who came out against him—mostly don’t? Should I simply ignore the CEO’s comments, because by boycotting him I’m affecting his employees, who had nothing to do with those comments?

I’m not sure how I feel about Under Armour at the moment. As The Rock said in speaking out against Plank, “a good company is not solely defined by its CEO.” But do I want to put money in Kevin Plank’s pockets, knowing that he may use a tiny fraction of it to support a political candidate I don’t like? And if I decide to buy Nike, or Adidas instead, must I research those companies’ executives’ campaign contribution history? Or do I just stick my head in the sand and simply buy whichever products I like best, regardless of my (or the company’s) political leanings?

Regardless of how (or whether) I’ll personally take action moving forward, my takeaway from the last few weeks is this: brands absolutely care what consumers think of them, perhaps more now than at any point in history. Companies exist to make money, and if consumers decide—for whatever reason, political or otherwise—to stop giving them money, they will notice and they will react.

As the Seth Godin quote at the top of this post suggests, we as Americans don’t just vote in November. we vote with our money–and our social media, and our Google search history, and what we watch on TV–all day, every day. I don’t know about you, but I plan to make my votes count.

We’ll Miss You, Jim

On Sunday, my 35th birthday, my step-grandfather, Jim, passed away at age 93.

I met Jim about 20 years ago, when my mother was dating Jim’s son and my stepdad, Tom. Jim and his late wife, Rose, were older than my biological grandparents. As is typical with blended families, we didn’t know what to call them, so we simply referred to them as Jim and Rose.

Over the years we would visit with Jim and Rose, going to their house on Long Island for holidays. Even when they became my ex-step-grandparents, I still made a point to stay in touch as much as I could with an occasional visit when I was in town, or a call to the house every so often. When Rose passed away a few years ago, my wife and I attended the wake.

Since his wife’s passing, Jim’s own health had begun to deteriorate. He had fought and won a battle with cancer two decades earlier, but now his body was breaking down though his mind stayed sharp.

Over the past year, I put reminders in my calendar to call him every few weeks to check in, to see what he was up to, what he was reading, how he was feeling. My wife and I would stop by for a visit when we could, and he was always appreciative when we did. On one of my visits, when he was still feeling well enough to move around the kitchen, he made me lunch—chicken soup.

Despite what I can only imagine was heartbreaking frustration at not being able to use his body to do much of anything, he didn’t let his brain quit. He devoured the New York Times every day, listened to books on tape with an old school tape player at his side, read long biographies, and listened to music.

Once he mentioned that he had read about all the excitement the then-new musical Hamilton was generating on Broadway, and that he was curious about it—though not sure he’d like the show’s hip-hop score. A few days later I sent him the original cast recording.

Given the speed of the singing and rapping—especially the character who rapped in double-time with a French accent—I wasn’t sure Jim would get past the first few songs before setting it aside. But when I called him a few days later, he told me he had listened to it twice.

He admitted that the music was not exactly his cup of tea, but that he did his best to follow along using the CD’s printed liner notes. That just blew me away. That he would even listen to Hamilton (twice), no less read the tiny-print lyrics, told me a lot about Jim’s thirst for knowledge. Just because he didn’t have the energy to leave the house, take a train into Manhattan to see the show on Broadway, didn’t mean he wasn’t going to at least see what all the fuss was about if he had the capability to do so from his living room.

In the past few months his health took a turn for the worse. I didn’t get the full details—I could have, but didn’t feel the need to pry—but it seemed that as hard as he battled he wasn’t going to win this time. Still, he persisted. On several occasions I thought I would be speaking to him on the phone for the last time. On some calls, I got the sense he thought that, too, especially when he would effusively thank me for calling him so often.

In the last months I began to call more frequently. His daily routine of taking midday walks had been all but curtailed; he spent a lot of time at home sitting, doing some light physical therapy in the house when he had the energy. I figured he was bored, so I called. Sometimes he was too tired to chat and only stayed on the phone a few minutes. Usually I could tell his energy level by how well I could hear him. In the past few weeks, despite some complaints about physical weakness and pain, he sounded as good as he’d sounded to me in years. In one of our most recent conversations, Jim told me he had just finished a biography about the Wright brothers (on his iPad), and suggested I check it out.

This past Thursday, I called Jim to firm up plans for my wife and I to come out to Long Island and see him on my next visit to New York a week later. He jokingly said, “Um, let me check my calendar. Let’s see, Saturday. Nothing, nothing, nothing, nothing. Yeah sure, you can come by on Saturday.”

I wasn’t planning to call Jim this week because I knew I’d see him in a few days. I went on with my day and week, celebrating my 35th birthday over the weekend. I even received a card from Jim in the mail.

On Sunday night, while returning some birthday calls I’d missed during the day, I spoke with my stepdad, Tom, who told me that Jim had passed away earlier that day. He had been in some pain and the family made the decision to move him to a hospice facility, where he passed away peacefully.

Jim told me stories about his childhood, growing up on a farm, and about his time after the war when he and Rose moved to Virginia for a few years, not far from where I live now. He told me stories about taking his station wagon full of kids across the country to camp in national parks. About how with the help of doctors and medication and meditative gardening in his backyard, how he beat cancer.

If you met him just once, you would say Jim was a nice man. He was also a World War II veteran, a teacher, a gardener, a cancer survivor, a husband and father of four, a grandfather and step-grandfather. And he was my friend.

In this episode of The Profit, “The Soup Market,” Marcus Lemonis visits a Milwaukee-area soup shop.

The store has been reasonably successful, but with grand plans to expand its footprint from 5 stores to 50+, and a co-owner who died unexpectedly, owner and soup chef (“soupier”?) Dave Jurena needs Marcus’s help.

Within a few minutes of stepping inside one of The Soup Market locations, meeting Dave in person, and tasting a few soup samples, Marcus already has a few thoughts. The inside of the shop, he says, looks like a hospital cafeteria. The soups themselves are a little thick, not the light fare he expects when ordering soup. And he’s concerned that the calorie count of these thick soups isn’t posted anywhere, nor does Dave care to know how caloric his soups are.

Marcus also hates the sloppy presentation of the soup and bread on a plate, thinks the bread smells like it’s not fresh, and is concerned the shops aren’t collecting data at the point of sale for which soups sell best and worst. Dave estimates soup makes up about 60% of the shop’s revenue, but doesn’t know what the second-best selling item is.

Marcus asks Estephanie, one of the shop’s young, friendly assistant managers, to step outside to ask her a few questions without Dave hovering. When he asks Estephanie who she reports to, she squirms and says, “Dave…?” It’s obvious to Marcus, and the audience, she’s hiding something. There’s clearly an underlying issue, but it’s above her pay grade. No one can blame her for not getting in the middle of whatever it is. Estephanie grudgingly mentions someone named Grace, but says she’s unsure of Grace’s role at the company.

Next, Marcus pokes around in the kitchen at another TSM location, getting to know some of the other employees including Kevin, who is introduced as the director of operations. Kevin, in front of Dave, mentions Grace as well. Dave quietly says to Kevin, “Don’t mention Grace,” and then tells Marcus Grace will be leaving the company soon. Dave is red-faced and clearly uncomfortable talking about Grace.

Marcus smells something fishy–besides the cioppino. Unwilling to let the Grace thing go, he also asks Mayra the kitchen manager, outside of Dave’s earshot, who she goes to if she has a kitchen problem. “Grace,” Mayra says without hesitation. When Marcus asks if Grace reports to Kevin, Mayra says, “I really don’t know,” with the same awkwardness we saw from Estephanie and Kevin earlier. He revisits the issue Kevin, who describes the relationship between Grace and Kevin as “brother-sister,” and “dysfunctional,” before Dave interrupts them.

Upon visiting a third store, Marcus is confused to see Dave’s wife, Jill, again. He had met her at the first store that morning, but since she’s not technically involved in the business he thought it odd to see her twice in one day. When he asks Dave why she’s here, he says it’s “to support me.”

“Is that really the reason?” Marcus asks. Dave says: “And to keep Grace away.”

When Marcus prods, Dave is as cold as gazpacho and says three or four times, “I’m not going to talk about it. Next subject.” Marcus won’t let it go, and finally Dave says, “I wish you would go. I have no interest in your services,” and storms out.

Marcus reaches Dave on the phone an hour later. Dave explains there was a “blow-out fight” between he and Grace, and they mutually agreed to part ways. Marcus is satisfied, for the time being, and agrees to set the Grace thing aside. For now.

Marcus and Dave go over the numbers together. We see the little cartoon infographic we get every episode, this one specific to increasing the margins on a cup of soup–though Dave himself doesn’t know how much it costs him to make a cup of soup–from 52% to 70%.

And finally, here’s Marcus’s offer: factoring the $85,000 TSM is in debt, Marcus is willing to pay $315,000 for 50% of the business. Before agreeing to take Marcus’s money, Dave wants to know “what that looks like” in terms of how Marcus intends to spend money when it comes to improving the look of the stores, which Marcus hates. Marcus says no, he’s 100% in charge and won’t agree to any such conditions before making the deal. Dave, who pretty much has no choice, agrees. And with a handshake, Dave and Marcus consomme-d their relationship.

Marcus has Dave to bring a few of his soups to a lab to test their nutritional content and, surprising to no one, they are found to be heart attacks in a bowl. (As if this episode didn’t already smack of Seinfeld, the lab scene calls back Jerry, Elaine and Kramer having the “no-fat” frozen yogurt tested.) Marcus suggests tweaking some of the recipes to make them healthier. Dave wants no part of it, suggesting Marcus should stick to business and let Dave stick to soup.

Later, who makes an appearance at the store but Grace. She blows past the counter and walks to the back room. Marcus tries to stop her, pretending he thinks she’s a customer, but he knows what’s up. Her explanation is, “I’m Grace,” and she keeps going. Since Dave isn’t around, Marcus takes the opportunity to ask her what the deal is.

Grace says she is “kinda freaked out, I’m shaking right now.” Grace tells Marcus she is the director of operations–not Kevin–and that Dave requested she be invisible during the episode. She very much still works at TSM and still draws a paycheck. After a little more Marcus-style prodding–he’s like the Howard Stern of small business reality shows–Grace finally says she thinks Dave’s wife, Jill doesn’t trust her, and that she has become a problem in the Jurenas’ marriage, though nothing has ever happened between she and Dave.

The plot thickens–much like Dave’s African peanut soup.

As Marcus leaves the store, Dave’s wife, Jill, is skulking literally around the corner from the store. Is she keeping a lookout for Grace?

Marcus confronts Dave about Grace. Again. Dave says she’s a great worker who really stepped up when his business partner died, and that he developed feelings for her. He says he told his wife about it, and that nothing actually happened between he and Grace. Marcus considers walking away, but decides to power through for the sake of the employees. What a guy.

Marcus forges a deal with a pretzel company to supply TSM with a better bread option. And Dave even agrees to make a healthier soup to appease Marcus. Marcus is simply inspiring, not unlike chicken soup for the soul.

Marcus goes home to Chicago, then comes back two weeks later for the grand re-opening of one of TSM’s locations, having spent $60,000 renovating the shop and installing a point-of-sale system. People are lined up at the door. Dave gives an emotionless speech about how excited he is for the re-opening, and everyone files in for free soup. Dave’s wife, Jill, says she’s very proud of Dave. But wait…

Marcus spots Grace hanging around outside the store. Marcus brings Dave outside to take one last shot at ironing things out between Dave and Grace. He mediates, Dave apologizes, and Grace accepts. But Marcus is still pissed that Dave, against his wishes, excluded Grace from the opening. Marcus is again questioning his decision to partner with Dave. Perhaps he should have chosen salad instead.

Ten days later, while back in Chicago, Marcus gets a call from Grace. Grace says Dave fired her for insubordination, and when she refused to leave, Dave had the police escort her out. She also reveals that two years ago she filed a sexual harassment complaint with the Equal Employment Opportunity Commission after Dave made a sexual advance toward her. While that’s messed up, and Dave is now coming off like a scummy weirdo, I kinda feel like this is something Grace might have mentioned to Marcus a little sooner.

Marcus goes back to Milwaukee to confront Dave and sees that the new menu board, fresh produce display, and POS system are gone. The pretzels are missing, too, and TSM is now selling ice cream.

Marcus, now stewing, questions Dave, who tells him he doesn’t like any of the ideas Marcus implemented. They bicker, but it’s all beside the point. Marcus whips out his trump card, the paperwork from Grace’s EEOC complaint. Dave goes back into red-face mode, says the complaint is “being taken care of,” and that he doesn’t think he and Marcus are a good partnership. Marcus, class act that he is, wishes Dave good luck, shakes his hand, and walks out. After taking about a $100K hit on this failed investment, Marcus may be eating ramen tonight.

“I saw his true colors,” Marcus concludes. “I’m outta here.” I can believe he walked away from the deal. What I cannot believe is that he didn’t even attempt a soup-related play on words to end the episode. Personally, I would have gone with, I ultimately decided that Dave’s bisque was simply not worth the risk.

This was an entertaining hour of TV but it leaves me with one question: had Dave been more flexible and cooperative with Marcus, would Marcus have been willing to stick out the partnership despite Grace’s sexual harassment claim? How much of a role did ethics play in Marcus’s decision to walk away, and how much was simply because Dave was a pain in the ass to work with?

What do you think?

As a business development manager at Warc–a service devoted to helping advertising professionals create, buy and sell effective advertising*–I spend eight hours every workday talking to prospective clients about how insights (i.e. research) is the first step to building strategic ad campaigns that drive sales.

*Sorry for the elevator pitch but I couldn’t help myself!

My day job, combined with my friends Gil and Elliot’s recent interest in advertising, got me thinking about why I’m loyal to some of my own favorite brands.

*As savvy consumers, Gil and Elliot have begun to take notice of contemporary advertising platforms like product placement, native advertising and highly-paid YouTube celebrities, a.k.a. YouTubers.

And where better to start than a product I buy quite a bit of: beer.

I’d consider myself a bit of a beer snob, but I didn’t start that way. Ten years ago, then in my early 20s and always on a budget, I generally drank whatever was cheapest. My first question when I visited a bar was, “Do you have any specials?”

It wasn’t until a trip to visit my uncle Frankie in Arizona back in 2007 that I started to form a connection to one beer in particular.

When I got off the plane, happy to trade my heavy winter clothing I’d brought from New York for a t-shirt and jeans, Frankie picked me up from the airport and brought me to his favorite local sports bar, Zipps, for some wings and beers.

As I reviewed the bar’s domestic beer selection, Frankie suggested a beer I’d never heard of from a brewery in Fort Collins, Colorado. The beer was called Fat Tire.

“Do you mean Flat Tire?” I asked.

“No man, it’s Fat Tire,” Frankie replied.

I ordered the beer with the odd name, and I liked it a lot. It wasn’t too fancy, just a simple, drinkable amber ale. It had more flavor than the cheap, light beers I was used to drinking.

Frankie and I had a great weekend together. Frankie is just six years older than me, so our relationship growing up had been sibling rivalry-esque. But on my visit we had a chance to hang out for the first time as adults. I was glad for the chance to bond with my uncle and, of course, try Fat Tire.

fat-tire

I was disappointed when I returned home to New York and learned that New Belgium, the brewery that produced Fat Tire, didn’t distribute its beer in my area. I would continue to look for Fat Tire every time I visited Arizona, Las Vegas, or the West Coast. I enjoyed the thought of having a “go-to” beer when I traveled to the other side of the country. If a bar, restaurant or casino was serving Fat Tire, I ordered it.

When I got married a few years later, I was excited to learn that Fat Tire was available in Virginia, the state where my wife and I tied the knot. I made sure we were serving my favorite beer during the cocktail hour and reception.

Since that first visit to Arizona, I’ve tried many, many new beers, and have developed a fairly sophisticated palate when it comes to craft beers. Have I had better beers than New Belgium’s Fat Tire? Sure. But I still consider Fat Tire my favorite beer. It’s not because it’s the best beer I’ve ever had; it’s because I associate it with that positive memory of my visit to Arizona, the subsequent visits to see family Out West, and my wedding.

So, what does this have to do with advertising? What can an advertising professional–for example, someone at an ad agency whose job it is to figure out where and when to advertise on behalf of its client, a craft brewery–take away from my story?

Bud Light and Coors Light, which fall under the massive conglomerates Anheuser-Busch InBev and Molson Coors, have been associating themselves with the things Americans love for many years or years, particularly when it comes to sports. It’s just about impossible to consume an American sporting event–watching on TV or online, listening on the radio, or in-person–without seeing several ads for these beer brands. And whether you consciously notice it or not, you’re associating the (hopefully) positive experience of watching your team play with the brands that advertise alongside it.

Of course, an independent, employee-owned brewery like Fat Tire, or the many even smaller breweries like it, don’t have the budget to flood the airwaves with commercials to raise awareness for their beers. But when my wife and I attended a small music festival in Charlottesville, Virginia, a few years back, New Belgium was there with a sponsored tent and pouring four of its beers I’d never had before including a tasty summer brew, Snapshot. I’ve purchased Snapshot and other New Belgium beers since then, and I always associate their beers with positive memories.

As it turns out, New Belgium didn’t have to spend millions of dollars on a 30-second Super Bowl commercial to create an opportunity to earn my business.

Now, let’s be realistic: I don’t stand in the beer aisle at my local grocery store and stare blankly into the cold cases while I replay the Fat Tire-related highlights of my life every time I buy a six-pack. But on some level, I’m thinking that when I’m buying that beer, a positive feeling will come along with it.

The craft beer business these days is brutally competitive. While there are more tiny breweries making great beer than there have been in any point in American history, it also means they’re all vying for market share (from beer snobs like me) and, unfortunately, they won’t all get it. But with the limited marketing dollars they may have, I’d advise them to make their presence felt at local events. As Peter Sims suggests in his book, Little Bets, if you can cheaply and quickly test an idea, it’ll allow you to tweak a good idea until it’s great–or rule out a bad idea all together. Maybe that means hosting a beer tasting at a local food truck festival. Or sponsoring a tent and selling your best beers at a small concert. Or just pouring small cups of cold beer to sweaty volunteers on a hot day at a charity event, even a summer 5K.

Small craft breweries will never realistically compete with AB Inbev and Molson Coors. For most, the best case scenario is to gain enough national attention to get acquired by one of the “Big Beer” companies. Even the biggest American craft brewery, The Boston Beer Company (which brews Samuel Adams) isn’t close. As its founder, Jim Koch says, Budweiser pours more beer down the drain than his brewery produces in a year.

But if you can start small and local, and connect your beer brand with something positive that your prospective consumers can look back on and smile, you’re off to a pretty good start.

When my wife and I arrived in Cape Town, South Africa, after a full day of traveling from our safari lodgings to a boutique hotel in the Camps Bay area of the city, we were surprised to learn we had been upgraded from our original room to a suite for the first four nights of our stay. However, we are also surprised to learn the suite wasn’t available on our fifth and final night, so we would have to move rooms.

Tired, hungry and cranky, we asked if there was anything that could be done to avoid having to move rooms. (We’re not the neatest unpackers, and didn’t want the hassle of having to pack up, unpack, and pack again a day later.) We asked if it was possible to cancel the last night’s reservation–we were thinking if we had to pack up everything anyway, we might try to find a hotel room in another part of the city for our final night in Cape Town.

The front desk staffer said he would call the owner, an American gentleman, about our situation. Shortly after, the same staffer found us and explained that no other rooms were available for our last night, and we would indeed have to move rooms our fifth night. He was nice and polite, and by then we’d settled into our room and were in better spirits. We said sure, it was no big deal, and the matter was over in our eyes.

About ten minutes later, while getting ready for bed, I received an email on my phone from the owner of the hotel, which I’ve included below. (I took out a handful of text from the original email to redact any personal information, about us and him, or impertinent comments.) We’ve decided to take the high road and not “out” him by revealing his name or which hotel in Cape Town he owns. But the email itself is too good not to share; it’s truly a master class in how not to speak to your hotel guests. Enjoy.

Oh, and despite this insane email, the hotel was actually really nice and we stayed all five nights.

Hello Bobby,

I just received a call from our night manager sayin that you are unhappy about having to move rooms for the extra night you added to your stay.

I probably should have spoiled the surprise at the time which you have done yourselves now.

I wanted to do something nice at the time upgraded you to our largest and most expensive suite. You added the extra night on and only a different room was available.

I feel really put out. Rather than a thanks for the upgrade you want to leave the last night you added on because you have to change rooms.

I turned away a guest who stayed with us twice before yesterday as we didnt have the [fifth and final night] available. We are not a 300 room Westin and I am now really upset with this and I have so much work to do just too upset to deal with guests full stop.

There will be no refund for the [fifth night] if you decide to leave. In fact I would rather you left and upgrade some other guests as your wife played up and is giving us difficulty after what I did. This is such a slap in the face. Do I dare ask who you are voting for?

It will be a long time before I do this again for a pair of American guests. I cannot keep up with our enquiries and I am very very put out to have my time wasted like this as well.

I dont care if you like this message or not. Let me make this clear! Yes I do take it personally as [this hotel] is my baby!

[Signed owner’s name]

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