I'm going to give you four specific examples, I'm going to cover at the end about how a company called Silk tripled their sales; how an artist named Jeff Koons went from being a nobody to making a whole bunch of money and having a lot of impact; to how Frank Gehry redefined what it meant to be an architect. And one of my biggest failures as a marketer in the last few years -- a record label I started that had a CD called "Sauce."
Dal vam bom štiri natančne primere -- in na koncu bom razložil -- kako je podjetje po imenu Silk potrojilo svojo prodajo s samo eno stvarjo. Kako je umetnik po imenu Jeff Koons začel na dnu in pridobil ugled ter uspel zaslužiti ogromno denarja, do tega, kako je Frank Gehry na novo določil, kaj pomeni biti arhitekt. In ena mojih največjih polomij kot tržnik v zadnjih nekaj letih, ustanovitev založbe, ki je izdala CD z naslovom "Omaka".
Before I can do that I've got to tell you about sliced bread, and a guy named Otto Rohwedder. Now, before sliced bread was invented in the 1910s I wonder what they said? Like the greatest invention since the telegraph or something. But this guy named Otto Rohwedder invented sliced bread, and he focused, like most inventors did, on the patent part and the making part. And the thing about the invention of sliced bread is this -- that for the first 15 years after sliced bread was available no one bought it; no one knew about it; it was a complete and total failure. And the reason is that until Wonder came along and figured out how to spread the idea of sliced bread, no one wanted it. That the success of sliced bread, like the success of almost everything we've talked about at this conference, is not always about what the patent is like, or what the factory is like -- it's about can you get your idea to spread, or not. And I think that the way you're going to get what you want, or cause the change that you want to change, to happen, is to figure out a way to get your ideas to spread.
Preden začnem, vam moram povedati o narezanem kruhu in človeku po imeni Otto Rohwedder. Sprašujem se, kaj so rekli v 1910ih, ko so izumili narezan kruh. Največji izum po ... telegrafu ali nečem podobnem. Ampak mož po imenu Otto Rohwedder je izumil narezan kruh in se osredotočil, tako kot večina izumiteljev, na patent in izdelavo. In glavna zadeva pri izumu narezanega kruha je, da prvih 15 let, ko je bil narezan kruh na voljo, ga nihče ni kupil, nihče ni vedel zanj. Bil je popolna polomija. Razlog za to je, da dokler ni prišel Wonder in ugotovil, kako razširiti idejo o narezanem kruhu, ga nihče ni hotel. To je uspeh narezanega kruha, enako kot uspeh skoraj vsega, o čemer govorimo na tem srečanju, ni vedno pomembno, kakšen je patent ali kakšna je izdelava, pomembno je, če lahko svojo zamisel razširite ali ne. Mislim, da je način, da dosežete, kar želite, ali spremenite, kar želite spremeniti, da se spomnite načina, kako razširiti svoje ideje.
And it doesn't matter to me whether you're running a coffee shop or you're an intellectual, or you're in business, or you're flying hot air balloons. I think that all this stuff applies to everybody regardless of what we do. That what we are living in is a century of idea diffusion. That people who can spread ideas, regardless of what those ideas are, win. When I talk about it I usually pick business, because they make the best pictures that you can put in your presentation, and because it's the easiest sort of way to keep score. But I want you to forgive me when I use these examples because I'm talking about anything that you decide to spend your time to do.
In ni mi pomembno ali vodite lokalček, ali ste intelektualec, poslovnež, ali pa balonar. Mislim, da se ta koncept nanaša na vsakogar, ne glede na to, kaj počnemo. Živimo v stoletju širjenja idej. Danes zmagujejo ljudje, ki so sposobni širiti svoje ideje, kakršne koli že so. Ko govorim o tem, ponavadi izberem podjetja, ker delajo najboljše slike, ki jih lahko vključite v svojo predstavitev, in ker je njihov uspeh najlaže meriti. Rad bi, da mi oprostite, ker uporabljam te primere, saj govorim o čemer koli, za kar se odločite porabiti svoj čas.
At the heart of spreading ideas is TV and stuff like TV. TV and mass media made it really easy to spread ideas in a certain way. I call it the "TV-industrial complex." The way the TV-industrial complex works, is you buy some ads, interrupt some people, that gets you distribution. You use the distribution you get to sell more products. You take the profit from that to buy more ads. And it goes around and around and around, the same way that the military-industrial complex worked a long time ago. That model of, and we heard it yesterday -- if we could only get onto the homepage of Google, if we could only figure out how to get promoted there, or grab that person by the throat, and tell them about what we want to do. If we did that then everyone would pay attention, and we would win. Well, this TV-industrial complex informed my entire childhood and probably yours. I mean, all of these products succeeded because someone figured out how to touch people in a way they weren't expecting, in a way they didn't necessarily want, with an ad, over and over again until they bought it.
V osrčju širjenja idej je TV in kanali, kot je TV. TV in množični mediji so na nek način precelj olajšali širjenje idej. Jaz temu pravim TV industrijski kompleks. TV industrijski kompleks deluje takole -- vi kupite nekaj reklam -- zmotite nekaj ljudi -- to vam prinese distribucijo. To distribucijo porabite za večjo prodajo svojih produktov. Vzamete dobiček in ga porabite za nakup še več reklam. In tako se kompleks vrti na isti način, kot sta delovala vojaški in industrijski kompleks že dolgo časa nazaj. In ta model, ki smo ga že slišali -- če bi le lahko prišli na domačo stran Googla, če bi le lahko ugotovili, kako se promovirati tam, če bi le lahko ugotovili, kako zagrabiti tisto osebo za vrat, in jim povedali, kaj hočemo delati. Če bi storili to, bi dobili pozornost vseh in bi zmagali. No, ta TV industrijski kompleks je informiral moje celotno otroštvo in najbrž tudi vaše. Hočem reči, da so vsi ti produkti uspeli, ker je nekdo ugotovil, kako doseči ljudi na način, ki ga niso pričakovali, na način, ki ga niso nujno želeli v oglasu, spet in spet in spet -- dokler ga niso kupili.
And the thing that's happened is, they canceled the TV-industrial complex. That just over the last few years, what anybody who markets anything has discovered is that it's not working the way that it used to. This picture is really fuzzy, I apologize; I had a bad cold when I took it.
In zgodilo se je, da so odpovedali TV industrijski kompleks. Samo v zadnjih letih je vsakdo, ki karkoli trži, ugotovil, da kompleks ne deluje, kot je deloval včasih. Ta slika je meglena, se opravičujem, prehlajen sem bil, ko sem slikal.
(Laughter)
Ampak izdelek v modri škatli v sredini je moj fokus.
But the product in the blue box in the center is my poster child. I go to the deli; I'm sick; I need to buy some medicine. The brand manager for that blue product spent 100 million dollars trying to interrupt me in one year. 100 million dollars interrupting me with TV commercials and magazine ads and Spam and coupons and shelving allowances and spiff -- all so I could ignore every single message. And I ignored every message because I don't have a pain reliever problem. I buy the stuff in the yellow box because I always have. And I'm not going to invest a minute of my time to solve her problem, because I don't care.
Torej, grem v lekarno, bolan sem, potrebujem zdravila. Vodja blagovne znamke tega modrega izdelka je porabil 100 milijonov dolarjev v enem letu, da bi me zmotil. 100 milijonov dolarjev, da bi pritegnil mojo pozornost s TV oglasi in tiskanimi oglasi in neželeno pošto in kuponi in popusti in bonusi -- za to, da sem lahko ignoriral čisto vsako sporočilo. In vsako sporočilo sem ignoriral, ker nimam problema z bolečinami. Kupujem zadevo v rumeni škatli, ker sem jo vedno kupoval. In ne bom vložil niti minute mojega časa, da bi rešil njen problem, ker me preprosto ne zanima.
Here's a magazine called "Hydrate." It's 180 pages about water.
Tu je revija z naslovom Hidriraj. 180 strani o vodi.
(Laughter)
(Smeh)
Articles about water, ads about water. Imagine what the world was like 40 years ago, with just the Saturday Evening Post and Time and Newsweek. Now there are magazines about water. New product from Coke Japan: water salad.
Torej, članki o vodi, oglasi o vodi. Predstavljajte si, kakšen je bil svet pred 40 leti, ko so obstajali samo Saturday Evening Post in Time in Newsweek. Sedaj imamo revije o vodi. Novi produkt podjetja Coke Japan -- vodna solata.
(Laughter)
(Smeh)
Coke Japan comes out with a new product every three weeks, because they have no idea what's going to work and what's not. I couldn't have written this better myself. It came out four days ago -- I circled the important parts so you can see them here. They've come out... Arby's is going to spend 85 million dollars promoting an oven mitt with the voice of Tom Arnold, hoping that that will get people to go to Arby's and buy a roast beef sandwich.
V redu, Coke Japan lansira nov produkt vsake tri tedne. Ker nimajo pojma, kaj bo delovalo in kaj ne. Tega še sam ne bi mogel napisati bolje. Objavljeno je bilo pred štirimi dnevi -- Obkrožil sem pomembne dele, ki jih lahko vidite. Objavili so -- Arby bo porabil 85 milijonov dolarjev za promocijo rokavice za pečenje -- z glasom Toma Arnolda, v upanju, da bo to pripeljalo ljudi v Arby, da si kupijo sendvič s pečeno govedino. (Smeh)
(Laughter)
Poskušal sem si predstavljati, kaj bi lahko bilo v animiranem TV oglasu
Now, I had tried to imagine what could possibly be in an animated TV commercial featuring Tom Arnold, that would get you to get in your car, drive across town and buy a roast beef sandwich.
s Tomom Arnoldom, ki bi vas prepričalo, da se usedete v svoj avto, zapeljete čez mesto in kupite sendvič s pečeno govedino. (Smeh)
(Laughter)
Now, this is Copernicus, and he was right, when he was talking to anyone who needs to hear your idea. "The world revolves around me." Me, me, me, me. My favorite person -- me. I don't want to get email from anybody; I want to get "memail."
Tole je Kopernik in on je imel prav, ko je govoril z vsemi, ki morajo slišati vašo idejo. Svet se vrti okrog mene. Jaz, jaz, jaz, jaz, jaz. Moja najljubša oseba -- jaz. Nočem dobiti e-maila od kogar koli, hočem dobiti zame-mail.
(Laughter)
(Smeh)
So consumers, and I don't just mean people who buy stuff at the Safeway; I mean people at the Defense Department who might buy something, or people at, you know, the New Yorker who might print your article. Consumers don't care about you at all; they just don't care. Part of the reason is -- they've got way more choices than they used to, and way less time. And in a world where we have too many choices and too little time, the obvious thing to do is just ignore stuff. And my parable here is you're driving down the road and you see a cow, and you keep driving because you've seen cows before. Cows are invisible. Cows are boring. Who's going to stop and pull over and say -- "Oh, look, a cow." Nobody.
Potrošniki, in ne mislim samo ljudi, ki kupujejo v Mercatorju, mislim na ljudi v Ministrstvu za obrambo, ki bi lahko kaj kupili, ali ljudi na Delu, ki bi lahko natisnili vaš članek. Potrošnika sploh ne zanimate, preprosto ga ne zanimate. Razlog je delno, da imajo veliko več izbire kot včasih in veliko manj časa. In v svetu, kjer imamo preveč izbire in premalo časa -- je logična odločitev, da stvari ignoriramo. Kar hoče povedati je -- če se peljete po cesti in vidite kravo, se peljete naprej, ker ste že videli krave. Krave so nevidne. Krave so dolgočasne. Kdo se bo ustavil in rekel -- o, poglej, krava. Nihče.
(Laughter)
(Smeh)
But if the cow was purple -- isn't that a great special effect? I could do that again if you want. If the cow was purple, you'd notice it for a while. I mean, if all cows were purple you'd get bored with those, too. The thing that's going to decide what gets talked about, what gets done, what gets changed, what gets purchased, what gets built, is: "Is it remarkable?" And "remarkable" is a really cool word, because we think it just means "neat," but it also means "worth making a remark about." And that is the essence of where idea diffusion is going. That two of the hottest cars in the United States is a 55,000-dollar giant car, big enough to hold a Mini in its trunk. People are paying full price for both, and the only thing they have in common is that they don't have anything in common.
Kaj pa če bi bila krava vijolična -- ni to super efekt? Lahko še enkrat ponovim, če hočete. Če bi bila krava vijolična, bi jo za nekaj časa opazili. Hočem reči, če bi bile vse krave vijolične, bi vas tudi one dolgočasile. Kar odloča, o čem se govori, kaj se naredi, kaj se spremeni, kaj se kupi, kaj se izgradi, je -- ali je izjemno? In izjemno je res super beseda; mislimo, da pomeni samo dobro, ampak pomeni tudi, da je izjema, o kateri se splača govoriti. In to je bistvo širjenja idej. Od dveh najbolj zaželenih avtomobilov v ZDA je eden velikan vreden 55.000 dolarjev, dovolj velik, da spravi Minija v svoj prtljažnik. Ljudje plačujejo polno ceno za oba in edina stvar, ki jima je skupna, je, da nimata nič skupnega. (Smeh)
(Laughter)
Every week, the number one best-selling DVD in America changes. It's never "The Godfather," it's never "Citizen Kane," it's always some third-rate movie with some second-rate star. But the reason it's number one is because that's the week it came out. Because it's new, because it's fresh. People saw it and said "I didn't know that was there" and they noticed it. Two of the big success stories of the last 20 years in retail -- one sells things that are super-expensive in a blue box, and one sells things that are as cheap as they can make them. The only thing they have in common is that they're different.
Vsak teden se številka ena anjbolj prodanih DVD-jev v ZDA spremeni. Nikoli to ni Boter ali Državljan Kane, vedno je nek tretjerazredni film z drugorazredno zvezdo. Številka ena je, ker je tisti teden izšel. Ker je nov, ker je svež. Ker so ga ljudje videli in rekli -- nisem vedel, da obstaja -- in so ga opazili. Dva največjih uspehov zadnjih 20 let na področju trgovine -- eden prodaja super drage stvari v modri škatli, in drugi prodaja najbolj možno poceni stvari. Edino, kar imata skupno, je, da sta drugačna.
We're now in the fashion business, no matter what we do for a living, we're in the fashion business. And people in the fashion business know what it's like to be in the fashion business -- they're used to it. The rest of us have to figure out how to think that way. How to understand that it's not about interrupting people with big full-page ads, or insisting on meetings with people. But it's a totally different sort of process that determines which ideas spread, and which ones don't. They sold a billion dollars' worth of Aeron chairs by reinventing what it meant to sell a chair. They turned a chair from something the purchasing department bought, to something that was a status symbol about where you sat at work. This guy, Lionel Poilâne, the most famous baker in the world -- he died two and a half months ago, and he was a hero of mine and a dear friend. He lived in Paris. Last year, he sold 10 million dollars' worth of French bread. Every loaf baked in a bakery he owned, by one baker at a time, in a wood-fired oven. And when Lionel started his bakery, the French pooh-pooh-ed it. They didn't want to buy his bread. It didn't look like "French bread." It wasn't what they expected. It was neat; it was remarkable; and slowly, it spread from one person to another person until finally, it became the official bread of three-star restaurants in Paris. Now he's in London, and he ships by FedEx all around the world.
Sedaj smo v modni industriji, ne glede na to, kaj počnemo v življenju, smo v modni industriji. In ljudje v modni industriji vedo kako je tam, ker so tega navajeni. Ostali moramo ugotoviti, kako razmišljati na ta način. Kako razumeti da poanta ni v tem, da zmotiš ljudi z velikimi celostranskimi oglasi ali vztrajaš pri sestankih z ljudmi. Popolnoma drugačen proces določa, katere ideje se razširjajo in katere ne. Ta stol -- prodali so za milijardo dolarjev Aeron stolov s tem, da so na novo izumili, kaj pomeni prodajati stole. Spremenili so stol iz nečesa, kar je kupil nabavni oddelek, v statusni simbol, ki kaže, kje sedite na delovnem mestu. Ta možak, Lionel Poilane, najbolj slaven pek na svetu -- umrl je pred dvema mescema in pol, in bil je moj heroj in zelo dober prijatelj. Živel je v Parizu. Lansko leto je prodal za 10 milijonov dolarjev francoskega kruha. Vsaka štruca je bila spečena v njegovi pekarni, v krušni peči in spekel jo je le en pek. Ko je Lionel odprl svojo pekarni, so jo Francozi spljuvali. Niso hoteli kupovati njegovega kruha. Ni izgledal kot "francoski kruh". Ni bil to, kar so pričakovali. Bil je urejen, izstopajoč, in počasi se je razširil od enega človeka do drugega, dokler končno ni postal uradni kruh pariških restavracij s tremi zvezdicami. Sedaj je v Londonu in FedEx razpošilja njegov kruh po svetu.
What marketers used to do is make average products for average people. That's what mass marketing is. Smooth out the edges; go for the center; that's the big market. They would ignore the geeks, and God forbid, the laggards. It was all about going for the center. But in a world where the TV-industrial complex is broken, I don't think that's a strategy we want to use any more. I think the strategy we want to use is to not market to these people because they're really good at ignoring you. But market to these people because they care. These are the people who are obsessed with something. And when you talk to them, they'll listen, because they like listening -- it's about them. And if you're lucky, they'll tell their friends on the rest of the curve, and it'll spread. It'll spread to the entire curve.
Včasih so tržniki delali povprečne produkte za povprečne ljudi. To je množični marketing, Ublaži robove in ciljaj na sredino, to je veliki trg. Ignorirali so piflarje in bog pomagaj, zamudnike. Vse je bilo usmerjeno na sredino. Ampak v svetu, kjer je TV industrijski kompleks ovržen, menim, da to ni več strategija, ki jo hočemo uporabljati. Mislim, da je strategija, ki jo hočemo uporabljati, da ne tržimo tem ljudem, saj so zelo dobri pri ignoriranju. Tržimo ljudem, ki jim ni vseeno. To so ljudje, ki so obsedeni z nečim. In ko govorite, vas bodo poslušali, ker radi poslušajo -- gre se za njih. In če imate srečo, bodo povedali svojim prijateljem -- preostalim na krivulji -- in ideja se bo širila. Razširila se bo po celotni krivulji.
They have something I call "otaku" -- it's a great Japanese word. It describes the desire of someone who's obsessed to say, drive across Tokyo to try a new ramen noodle place, because that's what they do: they get obsessed with it. To make a product, to market an idea, to come up with any problem you want to solve that doesn't have a constituency with an otaku, is almost impossible. Instead, you have to find a group that really, desperately cares about what it is you have to say. Talk to them and make it easy for them to tell their friends. There's a hot sauce otaku, but there's no mustard otaku. That's why there's lots and lots of kinds of hot sauces, and not so many kinds of mustard. Not because it's hard to make interesting mustard -- you could make interesting mustard -- but people don't, because no one's obsessed with it, and thus no one tells their friends. Krispy Kreme has figured this whole thing out. It has a strategy, and what they do is, they enter a city, they talk to the people, with the otaku, and then they spread through the city to the people who've just crossed the street.
Oni imajo nekaj, čemur jaz pravim "otaku" -- to je odlična japonska beseda. Opisuje željo nekoga, ki je obseden, da se pelje čez cel Tokio in preiskusi novo restavracijo z rezanci, ker to pač počnejo. Obsedeni so. Izdelati produkt, tržiti idejo, identificirati kateri koli problem, ki ga želite rešiti, to nima pristojnosti pri "otaku", skoraj nemogoče je. Namesto tega najdite skupino ki ji resnično, obupano ni vseeno, kaj imate za povedati. Govorite z njimi in jim olajšajte, da povejo svojim prijateljem. Obstajajo pekoča omaka otaku, ampak ne obstaja gorčica otaku. Zato je ogromno vseh mogočih pekočih omak in ne tako veliko različnih gorčic. Ne zato, ker bi bilo težko narediti zanimivo gorčico -- lahko naredite zanimivo gorčico -- Ampak ljudi ne zanima, ker nihče ni obseden z njo in posledično nihče ne pove svojim prijateljem. Krispy Kreme je ugotovil celo zadevo. Krispy Kreme ima strategijo -- vstopijo v mesto in govorijo z ljudmi, ki imajo otaku, in nato oni razširijo idejo po mestu ljudem, ki so pravkar prečkali cesto.
This yoyo right here cost 112 dollars, but it sleeps for 12 minutes. Not everybody wants it but they don't care. They want to talk to the people who do, and maybe it'll spread. These guys make the loudest car stereo in the world.
Ta jojo stane 112 dolarjev, ampak binglja 12 minut. Saj ga nočejo vsi, ampak njim je vseeno. Hočejo govoriti z ljudmi, ki jih zanima in morda se bo razširilo. Ti fantje delajo najglasnejše avto ozvočenje na svetu.
(Laughter)
(Smeh)
It's as loud as a 747 jet.
Glasno je kot 747 letalo, ne morete vstopiti,
You can't get in, the car's got bulletproof glass, because it'll blow out the windshield otherwise. But the fact remains that when someone wants to put a couple of speakers in their car, if they've got the otaku or they've heard from someone who does, they go ahead and they pick this.
avto ima neprebojna stekla na oknih, ker bi jih drugače razneslo. Ampak dejstvo je, da ko nekdo želi vgraditi dva zvočnika v svoj avto, če imajo otaku, ali so slišali od nekoga, ki ga ima, bodo izbrali to ozvočenje.
It's really simple -- you sell to the people who are listening, and just maybe, those people tell their friends. So when Steve Jobs talks to 50,000 people at his keynote, who are all tuned in from 130 countries watching his two-hour commercial -- that's the only thing keeping his company in business -- it's that those 50,000 people care desperately enough to watch a two-hour commercial, and then tell their friends. Pearl Jam, 96 albums released in the last two years. Every one made a profit. How? They only sell them on their website. Those people who buy them have the otaku, and then they tell their friends, and it spreads and it spreads. This hospital crib cost 10,000 dollars, 10 times the standard. But hospitals are buying it faster than any other model. Hard Candy nail polish, doesn't appeal to everybody, but to the people who love it, they talk about it like crazy. This paint can right here saved the Dutch Boy paint company, making them a fortune. It costs 35 percent more than regular paint because Dutch Boy made a can that people talk about, because it's remarkable. They didn't just slap a new ad on the product; they changed what it meant to build a paint product. AmIhotornot.com -- everyday 250,000 people go to this site, run by two volunteers, and I can tell you they are hard graders --
Čisto preprosto je -- če prodajate ljudem, ki poslušajo, mogoče, samo mogoče ti ljudje povejo svjoim prijateljem. Torej ko Steve Jobs govori 50.000 ljudem v svojem nagovoru, ki poslušajo v 130 državah in gledajo njegovo dveurno reklamo -- to je edina stvar, ki drži podjetje pokonci -- teh 50.000 je tako obupano zainteresiranih, da gledajo dveurni oglas in nato povejo svojim prijateljem. Pearl Jam so izdali 96 albumov v zadnjih dveh letih. Vsi so bili dobičkonosni. Kako? Prodajajo jih samo na svoji spletni strani. Tisti ljudje, ki jih kupujejo na spletni strani, imajo otaku in nato povedo svojim prijateljem in zadeva se širi in širi. Ta bolniški voziček stane 10.000 dolarjev, desetkrat več kot navadni. Ampak bolnice ga kupujejo hitreje kot kateri koli drugi model. Lak Hard Candy ni všeč vsem, ampak ljudje, ki jim je, o njem govorijo kot nori. Ta pločevinka barve tu je rešila podjetje Dutch Boy in jim zagotovila bogastvo. Stane 35 odstotkov več kot navadna barva, ker je Dutch Boy naredil pločevinko, o kateri lahko ljudje govorilo, ker je izjemna. Niso samo dali nove reklame na izdelek, spremenili so način, kako izdelati produkt na področju barve. Amlhotornot.com -- vsak dan to stran obišče 250.000 ljudi, upravljata jo dva prostovoljca in lahko vam povem, da sta stroga ocenjevalca.
(Laughter)
(Smeh)
They didn't get this way by advertising a lot. They got this way by being remarkable, sometimes a little too remarkable. And this picture frame has a cord going out the back, and you plug it into the wall. My father has this on his desk, and he sees his grandchildren everyday, changing constantly. And every single person who walks into his office hears the whole story of how this thing ended up on his desk. And one person at a time, the idea spreads. These are not diamonds, not really. They're made from "cremains." After you're cremated you can have yourself made into a gem.
Tako daleč nista prišla z oglaševanjem. Tako daleč sta prišla, ker sta izjemna, včasih malo preveč izjemna. Ta okvir ima zadaj kabel, ki ga vključite v steno. Moj oče ima ta okvir na mizi in vsak dan vidi slike svojih vnukov, ki se spreminjajo. In vsak, ki vstopi v njegovo pisarno, sliši celotno zgodbo, kako je ta stvar končala na njegovi mizi. Z vsakim človekom se ideja širi. Tole dejansko niso diamanti. Narejeni so iz ostankov pri kremiranju. Po tem, ko ste kremirani, lahko iz sebe naredite nakit.
(Laughter)
(Smeh)
Oh, you like my ring? It's my grandmother.
Oh, vam je všeč moj prstan? To je moja babica.
(Laughter)
(Smeh)
Fastest-growing business in the whole mortuary industry. But you don't have to be Ozzie Osborne -- you don't have to be super-outrageous to do this. What you have to do is figure out what people really want and give it to them.
Najhitreje rastoči posel v celotni industriji mrtvašnic. Ampak ni treba biti Ozzie Osborne -- ni treba biti super nezaslišani, da naredite to. Kar morate narediti, je ugotoviti, kaj ljudje resnično hočejo in jim to dati. Nekaj hitrih pravil, da zaokrožim.
A couple of quick rules to wrap up. The first one is: Design is free when you get to scale. The people who come up with stuff that's remarkable more often than not figure out how to put design to work for them. Number two: The riskiest thing you can do now is be safe. Proctor and Gamble knows this, right? The whole model of being Proctor and Gamble is always about average products for average people. That's risky. The safe thing to do now is to be at the fringes, be remarkable. And being very good is one of the worst things you can possibly do. Very good is boring. Very good is average. It doesn't matter whether you're making a record album, or you're an architect, or you have a tract on sociology. If it's very good, it's not going to work, because no one's going to notice it.
Prvo pravilo: dizajn je zastonj pri velikem obsegu. In ljudje, ki so si izmislili izjemne stvari, pogosto ugotovijo, kako narediti dizajn, ki bo delal za njih. Pravilo številka dve: Najbolj rizična stvar, ki jo lahko naredite danes, je varnost. Proctor in Gamble to ve. Celoten model biti Proctor in Gamble je vedno temeljil na povprečnih produktih za povprečne ljudi. To je tvegano. Varna stvar danes je biti na robu, biti izjemen. In biti zelo dober je ena najslabših stvari, ki jih lahko naredite. Zelo dobro je dolgočasno. Zelo dobro je povprečno. Vseeno je, ali snemate glasbeni album ali ste arhitekt ali imate traktat o sociologiji. Če je zelo dober, ne bo deloval, ker ga nihče ne bo opazil.
So my three stories. Silk put a product that does not need to be in the refrigerated section next to the milk in the refrigerated section. Sales tripled. Why? Milk, milk, milk, milk, milk -- not milk. For the people who were there and looking at that section, it was remarkable. They didn't triple their sales with advertising; they tripled it by doing something remarkable. That is a remarkable piece of art. You don't have to like it, but a 40-foot tall dog made out of bushes in the middle of New York City is remarkable.
Torej moje tri zgodbe. Silk. Postavite izdelek, ki ne rabi biti v hladilniku, poleg mleka v hladilniku. Prodaja se je potrojila. Zakaj? Mleko, mleko, mleko, mleko, mleko -- ne mleko. Za ljudi, ki so bili na tem oddelku, je bilo to izjemno. Prodaje niso potrojili z oglaševanjem, potrojili so jo s tem, da so naredili nekaj izjemnega, To je izjemna umetnina. Ni treba, da vam je všeč, ampak 12 metrov visok pes iz grmovja sredi New Yorka je izjemen.
(Laughter)
Frank Gehry ni spremenil samo muzeja,
Frank Gehry didn't just change a museum; he changed an entire city's economy by designing one building that people from all over the world went to see. Now, at countless meetings at, you know, the Portland City Council, or who knows where, they said, we need an architect -- can we get Frank Gehry? Because he did something that was at the fringes. And my big failure? I came out with an entire --
spremenil je gospodarstvo celotnega mesta z oblikovanjem ene stavbe, ki jo ljudje s celega sveta hočejo videti. Sedaj ob nešteto sestankih Sveta Portland City ali kjerkoli že, rečejo -- potrebujemo arhitekta, lahko dobimo Franka Gehry-ja? Ker on je naredil nekaj izjemnega. In moj veliki neuspeh? Izdal sem celoten
(Music)
(Glasba)
A record album and hopefully a whole bunch of record albums in SACD, this remarkable new format -- and I marketed it straight to people with 20,000-dollar stereos. People with 20,000-dollar stereos don't like new music.
glasbeni album in upal na še mnogo drugih, v SACD formatu -- tem izjemnem novem formatu -- in ga tržil neposredno ljudem z 20.000 dolarjev vrednimi stereo sistemi. Ljudje z 20.000 dolarjev vrednimi sistemi ne marajo nove glasbe.
(Laughter)
(Smeh)
So what you need to do is figure out who does care. Who is going to raise their hand and say, "I want to hear what you're doing next," and sell something to them. The last example I want to give you. This is a map of Soap Lake, Washington. As you can see, if that's nowhere, it's in the middle of it.
Ugotoviti morate, komu ni vseeno. Kdo bo dvignil roko i rekel: "Hočem slišati kaj nameravate početi v prihodnosti" in prodati nekaj njim. Zadnji primer, ki vam ga hočem predstaviti. To je zemljevid mesta Soap Lake v Washingtonu. In lahko vidite, če je to bogu za hrbtom, je mesto prav na sredini tega.
(Laughter)
(Smeh)
But they do have a lake. And people used to come from miles around to swim in the lake. They don't anymore. So the founding fathers said, "We've got some money to spend. What can we build here?" And like most committees, they were going to build something pretty safe. And then an artist came to them -- this is a true artist's rendering -- he wants to build a 55-foot tall lava lamp in the center of town. That's a purple cow; that's something worth noticing. I don't know about you, but if they build it, that's where I'm going to go.
Ampak imajo pa jezero. In ljudje so včasih prihajali kilometre daleč, da so lahko plavali v jezeru. Sedaj ne več. In mesnti veljaki so rekli: "Imamo nekaj denarja. Kaj lahko zgradimo tukaj?" In kot večina odborov so hoteli zgraditi nekaj varnega. Nato pa je prišel umetnik -- to je dejanska umetnikova slika -- in rekel, da hoče zgraditi 16 metrov visoko lava luč v centru mesta. To je vijolična krava, to je nekaj, kar je vredno videti. Ne vem za vas, a če je bodo zgradili, jo jaz grem pogledat.
Thank you very much for your attention.
Hvala za vašo pozornost.