Mistaken Identities: Fake Birthdates Foil Facebook

The Wall Street Journal: “A recent survey of U.S., French, German, Italian and British consumers found that 41% had intentionally falsified personal information when signing up for products and services online. Most common was providing a fake phone number … Respondents also said they have provided a false birth date, made up a postal address, lied about a name or selected the wrong gender.”

“All the lying does seem to foil advertisers. It is ‘a much bigger problem than people are aware of,’ says Nick Baker, director of research and consulting of U.K. market research company Verve, which conducted a 2015 survey showing a large amount of fake information on website registrations and the like. Incorrect birth years, he says, are particularly nefarious because advertisers are often trying to match up habits or buying patterns with a specific age group.”

“But some companies that provide data to marketers say they are depending less and less on biographical information. Preethy Vaidyanathan, the chief product officer of New York-based marketing technology company Tapad, says they track much more valuable information from phone and web browser use.”

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New Media: Think Different & Inky

The New York Times: “At a time when traditional food magazines are shrinking and cutting staff, Dill is part of an unexpected groundswell across the country: a wave of small, sophisticated print magazines, produced on a shoestring by young editors with strong points of view and a passion for their subjects … The last few years have brought new titles like Ambrosia, Compound Butter, Jarry, Kitchen Toke, Peddler and Kitchen Work. Kimberly Chou and Amanda Dell direct the Food Book Fair and Foodieodicals, an annual fair for independent magazines; Ms. Chou said the number of participating titles had increased to 30 last year, from about a dozen in 2012.”

“Despite some off-putting names — like Toothache or Mold — many of these publications are beautiful and inviting, with ink-saturated pages filled with original art, and nuanced, complex stories you want to spend time digesting. Their cover prices are fittingly high, with many around $20, and a few don’t even bother to post their content online, focusing entirely on print … Most of these magazines come together as a labor of love, in chunks of spare time carved out on nights and weekends … small teams with low overheads may be able to pay for the costs of printing and freelance contributors, usually with a mix of sales, brand partnerships and events.”

“Despite all the challenges, some titles persist and grow. Gather Journal, a recipe magazine with high-art styling and photography, has been in print since 2012. And the literary magazine Put a Egg on It, founded by Sarah Keough and Ralph McGinnis, has been printing essays, comics and poetry on its sage-green pages for a decade.”

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Social Media Buzz: Not Always Accurate

The New York Times: “On average, 19 percent of a brand’s sales — or between $7 trillion and $10 trillion in annual consumer spending in the United States — are driven by social conversations, both online and offline, according to a new study conducted by Engagement Labs, a Canadian company that analyzes conversations around brands. The study, which looked at 170 brands, found that companies often wrongly saw social media as an accurate and sufficient guide for tracking consumer sentiment. Often, though, that social conversation might be much different from what people are saying in private conversations with friends and family, the study said.”

Co-author Brad Fay comments: “The danger is you can make some pretty big mistakes if you assume the conversations happening online are also happening offline. Very often, they’re heading in different directions.”

“The most negative and most outrageous comments often get the most traction on social media. And sometimes, people post comments about a topic just to get a reaction or to reflect an ‘image’ or appear ‘cool’ to their social media followers, when their actual views may be the opposite.”

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Outside the Box: Walmart Podcasts its Values

Fast Company: “Walmart has a podcast called Outside the Box that “looks at business issues like sustainability, American manufacturing, the workforce of the future, and more through a collection of entrepreneurs, innovators, and thought leaders. Senior Walmart staffers are seamlessly woven in among them … Outside the Box is an interesting and engaging podcast, even when it does have company folks involved because they include those we’d actually want to hear from, like chief sustainability officer Kathleen McLaughlin. It’s about as far from a sales pitch as possible.”

“Walmart says the podcast is about stories that align with the brand’s values, and so far, discussions have unfolded from a business perspective, not a Saturday shopper’s. Walmart’s senior director of digital communications Chad Mitchell comments: “A key tenet of our strategy is reaching people where they’re naturally consuming content, and all signs point to podcasts these days.”

“Mitchell says the idea was to give people a better sense of what was happening within the walls of Walmart today and what Walmart stands for.”

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How ‘Stranger Things’ Went Global

Wired: “It’s hard to overstate how important it is to Netflix’s long-term ambitions that shows like Stranger Things ‘travel’ … it has to spend wisely to ensure it’s producing content that plays as well in Canada as it does in Cameroon … Making movies or series that play well overseas depends to a certain extent on quality, of course … But for a show like Stranger Things—which is an Emmy-nominated and critically-praised show in the US—to succeed abroad, Netflix has to translate its genius to as many markets as possible. Literally.”

“That means the creation of a Key Names and Phrases tool, a sprawling spreadsheet in which teams of freelancers and vendors input translations in the name of consistency. Does the show include a fictional location? A catchphrase? A sci-fi item that has no real-world corollary? All those things go in the KNP, allowing Netflix to know how they read in Greek, Spanish, Swedish, Vietnamese, and so on … That focus on consistency goes beyond the words themselves to the voice actors saying them. Netflix says it looks for people who sound like the original cast but also, as Sheehan puts it, ’embody the spirit of the character and tone.'”

“Netflix’s global accommodations go beyond subtitles and dubs, of course. The company has advanced efforts in recent years to make its service more usable in emerging markets, countries where bandwidth may be limited or unreliable … The result? A show that went viral first in Canada, and gradually spread to find enthusiasts around the world. In one month, Netflix users in 190 countries watched Stranger Things, and viewers in 70 of those nations became devoted fans. A handful of people tuned in from Bhutan, and from Chad. In a first for the streaming service, someone watched Season 1 in Antarctica.”

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Slow & Low: How Netflix Raises Prices

Quartz: “When Netflix raised rates this month, it increased the price of its most popular plan in the US by $1 and its premium package by $2. The hike hit new signups first and is still rolling out to existing users—a strategy Netflix uses to give people time to adjust. The company, shrewdly, did not touch the basic plan—its cheapest offering at $7.99 a month—so that folks on tighter budgets could still afford the service … The key, for Netflix’s management, was learning to raise prices without spooking subscribers—by doing so in small and infrequent doses.”

“Netflix has been careful not to raise rates too quickly in markets where it’s still building out its library and launching originals geared toward local audiences. It needs to become a service its customers can’t live without, before they rethink its value … Some analysts expect and welcome another modest price lift in the US next year to cover the rising cost of Netflix’s content. An extra dollar here and there, if Netflix continues to add new ‘must-watch’ series and movies all the time, shouldn’t dent its base too badly.”

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Porky Pig: The Anti-Mickey

The Wall Street Journal: “There were essentially two modes of expression in the Hollywood studio cartoon: the Disney style and that of Warner Bros. Disney strove for believable narrative and overwhelming naturalism—even in a fantasy like his 1937 milestone, ‘Snow White and the Seven Dwarfs.’ Conversely, the Warners style, which is often conflated with that of Avery, its most innovative director, came to mean uproarious, fast-paced and often transgressively violent humor in which characters frequently violate the fourth wall and confront you with their artificiality.”

In 1935, “Warners released a cartoon called ‘I Haven’t Got a Hat’ introducing a group of animal schoolchildren, and the one who began to attract notice was a certain pig with a speech impediment. Within a year, he was starring in his own series of shorts, and before 1936 was over, Porky Pig was rapidly becoming the embodiment of a whole new kind of animated film. … By 1938-39, Bob Clampett had become the dominant directorial influence in Porky’s career. On his watch, Porky became considerably cuter, thanks equally to Mel Blanc, who now provided the pig’s voice and made the stutter more adorable than grotesque.”

“Clampett’s characters are like cuddly, bouncy balloons being manipulated by a maniacal genius … Clampett seems determined to contrast exaggerated cuteness with even more extreme violence, as if throwing a hand grenade in the middle of a Disney Silly Symphony.” By 1943, “two characters had already succeeded Porky as the studio’s biggest breadwinners, Daffy Duck and Bugs Bunny. As popular as Porky had been a few years earlier, he was essentially a passive character—like Laurel & Hardy, things happened to him. He couldn’t compete with the brash, aggressive stars of the World War II era, like Bugs and Daffy, who belonged to the age of Abbott & Costello.”

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Ikea’s Vending Machine

Business Insider: “Earlier this month, Ikea opened a kitchen pop-up store in central Stockholm. To advertise its new and path breaking retail concept, the Swedish furniture giant has placed a vending machine selling kitchen tools inside the subway station of Hötorget, in the city center.”

“Although its main job is to nudge bypassing commuters to a visit in the 400 square meter kitchen showroom just a stone’s throw away, Ikea’s vending machine is a pop-up store unto itself – where customers can buy items like the classic garlic press KONCIS … The vending machine, due to stay up for a couple more weeks, is outfitted with a message encouraging customers to “get a kitchen to go with their garlic press’.”

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Nestle’s Supermarket Barge

Business Insider: “Nestlé, the world’s largest packaged food conglomerate, came up with a way to spread its presence abroad: sponsor an Amazonian river barge to sell its products to the backwoods of Brazil … the boat was a way to expand in hard to reach parts of Brazil, reports the New York Times. Since 2010, the boat delivered tens of thousands of cartons of milk powder, yogurt, chocolate pudding, cookies, and candy to isolated communities in the Amazon basin.”

“According to The New York Times, the boat was taken out of service in July 2017, but private boat owners have taken over to fill the demand.”

“The program, called ‘Nestlé Takes You Onboard,’ was part of a larger effort of Nestlé’s door-to-door marketing campaign … Nestlé currently also employs thousands of local vendors, who sell its products to quarter-million households, many of which are in isolated, low-income areas of Brazil … The ‘supermarket’ boat, which measured 1,076 square feet, journeyed to 18 cities and up to 800,000 consumers on the Para and Xingu rivers in Brazil … It carried 300 different items, including chocolate, yogurt, ice cream, and juices.”

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Dark UX: The Art of Online Addiction

Quartz: “Designing to encourage addictive behavior is a studied skill. Legions of designers are now learning the psychology of persuasion and use these tactics to make sites and apps ‘stickier.’ One of these schools is the Stanford Persuasive Tech Lab. Spearheaded by behavior scientist BJ Fogg, the lab teaches students about the tenets of ‘captology’ the study of computers as persuasive technologies.”

“Addictive, well-designed interfaces mean that UX designers are doing their jobs. And micro visual cues like a bigger ‘Buy Now’ button, or flashy testimonials, can be just as much value-neutral tools of the trade as they are tactics in the battle for your attention.”

“Dark UX is an industry term for sly design tricks that benefit the client’s bottom line. It ranges from creating defaults, such as a pre-checked opt-in email subscription or pre-selecting the most expensive options. It can also manifest in the form of interfaces requiring clients to supply their personal information before being allowed to look at the products on a website.”

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