I’ve come around to agreeing that the best Super Bowl spot (above) only ran in Canada.

I don’t know about you, but I haven’t run into anyone in the advertising or marketing business who wasn’t hugely disappointed with the commercials that ran last Sunday. It made all of advertising seem tired, old and in need of a serious makeover.

Even among the 25 students in the class I teach at Boston University, consensus seemed to be that all we got were recycled ideas (Honda), agencies struggling to extend past successes (VW, Chrysler), and sad attempts to replace humor with something more sophisticated (Bud Platinum).

Granted, it’s difficult to make great advertising of any kind. Add the pressure, money, judgment and expectations of the Super Bowl and the challenge is 10-fold. And today, with everyone having a microphone to express his opinion, in real time no less, it’s unlikely we could ever get consensus on what constitutes great.

At a Brand Bowl kickoff last Friday, held at the Boston Globe’s innovation lab, 60 people previewed half a dozen spots. They texted their reaction so we could quickly gauge a winner. Interestingly nearly all the spots split the audience. A slight majority disliked Ferris. A twinge more than half gave the VW dog the thumps up. But nothing stood out or made a lasting impression.

Granted come game day consumers and viewers pay attention to the spots. By adding their two cents, they elevate brand mentions and visibility across all of the social channels. And as Mullen’s Brand Bowl revealed, classic advertising humor still works at inspiring volumes of chatter. Doritos generated tens of thousands of tweets and M&Ms proved that a new female character can charm the pants off viewers.

But is that good enough?

There was a time when advertising helped define pop culture. “I can’t believe I ate the whole thing,” or “Take it all off,” or “Wassup,” or “When I grow up,” were ideas that started with an ad and then migrated outwards. Today, however, most great ideas begin somewhere else. Hollywood. Silicon Valley. The app store.

That should bother anyone who still works in this business and be a challenge to the next generation ready to enter it. Maybe it’s too late. The new frontier has moved well beyond message based marketing to engagement, utility and collaboration.  But it appears that good old advertising still has some role to play. And if it’s going to show up for a competition as fierce as the Super Bowl, it better start bringing its A-game.

Related posts:

All the spots: Ad Age

Non Brand Bowl analysis: Media Works

Charming to Smarmy: NY Times

Honda emailed all of its customers a link to their new spot

You’re probably thinking, oh great, another Superbowl blog post. I know that’s what I’m thinking whether I’m reading one or writing one. But there are some interesting developments worth noting. Given the cost of advertising on the game, the pressure to run a memorable spot and the vocal participation of viewers on Twitter, Facebook and online polls, advertisers have to pull out all the stops if they expect to win on both effectiveness and public reaction.

Here are some practices, if not possible trends, worth noting.

Super Bowl spots are getting longer

It ain’t cheap to run a commercial on the game in the first place — $3.5 million for a 30-second spot.  Nevertheless we’re seeing multiple brands running 60’s and Honda ponying up to produce a two-and-a-half minute spot for pre-game release, likely to be a sixty-second buy in the game itself. The cliché explanation, of course, is the need to break through the clutter. But the real reason is that no matter what you run, the pressure to do well – on polls, on Twitter, in the court of public opinion – is higher than it’s ever been. Twice as long may not mean twice as good, but it does leave more room for gags, humor and story-telling.  Some, like Toyota succeed.  Others, like Acura, don’t. Honda may or may not play as well in the on air :60 as it does in the online version.

Story telling gives frat humor a run for the money

I’m sure the latter isn’t extinct quite yet, but it does appear there may be a little more true story telling this year and maybe fewer formulaic reveals at the end. Honda’s Matthew Broderick spot is a miniature movie. It may not tell me anything I don’t know about the vehicle, but the length of the commercial alone will put it at the right end of the buzz meter and the charm of the performance will no doubt win plenty of votes on USA Today and Brandbowl. Granted that doesn’t necessarily turn into sales or even consideration – just because I like an ad doesn’t mean I’ll buy the car. Brand likeability may be a motivation to buy, but that remains different from liking a TV spot.

While Honda may have nothing to say other than it stands for playing hookie, Audi has some very specific features to share with us. Like the LED technology in its headlights.  The carmaker may have jumped on the overcrowded vampire bandwagon but at least there’s a relatable story in its 60-second execution. And as we all know, stories make things easier to remember and share with others.

User generated spots start to feel old

While I am a big fan of getting our customers involved, it comes with a huge problem: formulaic, highly derivative, re-cycled ad ideas. The Chevy spot in which a college grad thinks he’s getting a car is among the most expected. We’ve seen it done for everything from wallpaper to Pepsi in the famous Cindy Crawford ad. The Doritos dog trick spot is even worse.  Strategy: product looks, tastes, and is so good that customer can’t resist it. Seen it. Done it.  Plus I think Bud Light has used up all the jokes in that genre.

The use of social platforms grows

I am excited to see what Wieden does with the Coke polar bears. Given that they’re the guys who brought Old Spice to Twitter, I’ll guess that the execution of the bears’ reaction to the game, their respective teams (the bears are not rooting for the same team) and even the commercials will be fun, and ideally offer some genuine interactive features for the user. At least I hope so.  If it’s just more “pay attention to us,” but in different venues, that would not be very Wieden like. Will be yet another coup for Facebook.

We can also assume that everyone, or at least Bud Light, will have a hashtag, now that they know what they are.  A year ago, when Audi stuck one on the back end of an ad for a full half second, the press went nuts. “A hashtag!” What an innovative marketing technique.  Now, 12 months later, it’s practically mainstream and expected.  A reminder that it’s not about using the media, it’s about what you do with it. You still need a creative idea.

The “Mikey, he likes it,” metric matters more than ever

It started with USA Today’s Ad Meter. Then came Brandbowl. And now likes and +1s and embeds and views. It’s almost as if the only thing that matters is whether or not the ad and the execution win praise and thumbs ups. We may make believe that other numbers – reach, awareness, consideration, a bump in sales – really matter more. And, of course they should. But I wouldn’t want to be the agency whose work comes in the bottom third of the polls. Or doesn’t get a few million views on YouTube (even though many of those are paid for.)

The pre-release strategy goes mainstream

It was only a few years ago when Superbowl spots were kept under wraps and guarded at all costs until the day of the game. Now, we’re likely to be tired of the commercials before they ever actually run. After the whopping success of VW’s The Force in 2011, pre-releasing one’s Super Bowl spot appears to be the new normal. They’re on Hulu, on YouTube, on blogs and all over Twitter and Facebook. Not everyone welcomes the loss of surprise; there’s something culturally communal about having 100 million plus fans sees the same spot for the first time all together.  But the web has changed that. And certainly a marketer could argue that every view counts so extending them from before the game to after stretches the media budget. In fact the Honda spot went from no views to 4 million in the first 36 hours.

Borrowed interest still reigns

This year we have inspiration from Twilight, Ferris Bueller’s Day Off, and Seinfeld. No doubt there will be more. Some will be clever. Some might border on brilliant. They’ll probably make us laugh or smile as they cover us in the warm glow of familiarity. But something in me wishes that advertising would work the other way around. That we would create the cultural icons worth borrowing or stealing from.

That would be worth even more than an extra 10 million views on YouTube.

Would love to hear your thoughts, and hope to see you in the stream on Brandbowl2012.com. The pre-game site is up now. But we’ll be rocking come game time. Remember: #brandbowl.

Below, one of my favorite spots so far.

Related posts:

Why Shazam won’t work, by @mrahmey

Coke’s Polar Bowl

Welcome to Strategic Creative Development

Thought I’d share a deck I recently used to kick off Strategic Creative Development, a class I’m teaching this semester at Boston University’s College of Communication.

The premise behind the syllabus is simple: advertising is no longer about making ads. At least not all of the time.

Now it’s as much about digital experiences, gaming dynamics, mobile utility, Facebook apps, and creatively leveraging the interest graph as it is about crafting a message. Of course you know that.

Nevertheless, it was fun to create a journey just by looking at the automotive category. It telegraphs the change brilliantly.

In the beginning – presuming we all believe that Bernbach ignited advertising’s Big Bang – there was Volkswagen. Picture of the car, usually. Clever headline that juxtaposed with the image produced a “concept,” often telegraphing as much about the user as the car. “Do you have the right kind of wife for it?”

Twenty years later Amirati and Puris filled the awards annuals with iconic work for BMW. Picture of the car, usually. Clever headline that juxtaposed with the image produced a “concept,”  often telegraphing as much about the user as the car. “You’re judged by performance. Why drive a car that lives by a lesser code?”

No much changed in 20 years. Art and copy and bought attention.

But fast-forward 16 years and all hell breaks loose. BMW films in in 2001. The first big campaign to acknowledge consumer’s use of the web, the idea that advertising could actually be sought out, and that “commercials” need not be limited to 30 seconds. Mini-Cooper in 2002, a forerunner of imitators to come, so to speak, as a CB&B makes a brand social before there’s Facebook or Twitter to help it along.

A few years later we see Art of the Heist, and some of the very first trans-media story-telling. And finally the Ford Fiesta Movement, crowdsourced content that offered both insights about the customer and content to populate the web.
The evolution?

• VW and BMW: ads that buy our attention
• BMW Films: ads that we seek out and find online
• Mini-Cooper: ads that leverage community and membership
• Audi A3: ads that invite our participation and let us play along
• Ford Fiesta: ads that hand the brand and the content over to us

#BUSCD students will get to work on digital platforms, apps and experiences to introduce the VW Bulli

I used some non-automotive examples to demonstrate the dramatic change,too, including a comparison of the infamous Mr. Whipple with the Charmin’s most recent effort: the Sit or Squat iPhone app, a crowdsourced utility helping us locate clean, accessible public restrooms when we’re on the go. We’ve come a long way, baby.

Take a look at the deck if you’re so inclined. It includes some discussion guide and questions that might help anyone who teaches advertising and social media. It offers some thoughts and suggestions for aspiring industry employees to think about. And it has a few nice little sound bites borrowed from the like of Clay Shirky and Contagious.

Plus it includes a fun assignment at the end. The re-launch of the VW microbus, coming again as the Bulli in 2014.

If you’re a student, feel free to download. If you’re a teacher, take whatever you want to and use it for yourself and your students. Got thoughts to share? Leave them below.  And as always, thanks for reading.

(Special thanks to CP&B for sharing all its Mini Cooper work.)

With a little help from my friends. Getting guest appearances from John Winsor, Sheena Matheiken, Helen Klein Ross and Daniel Stein

I’m a huge believer that we should constantly challenge ourselves by trying new things and starting from scratch sometimes. So my newest project is to teach a full semester at Boston University. Wish me luck.

The College of Communication has offered me the chance to develop a syllabus for a course titled Strategic Creative Development. Granted I’ve taught and run workshops, lectured at numerous colleges and even done a week long executive in residence at the University of Oregon. But all of that pales compared to what it takes to prepare for a full semester. I have a newfound respect for anyone who teaches.

There’s still a month to go before the semester starts, but here’s what I’ve got so far. Thought I’d share it in hopes that you might have suggestions for how to make it even better.

Course Description (what it will say in the syllabus)

Advertising strategy is no longer only about inspiring the creation of an ad. Today it has to inform how brands generate content, engage in the social stream, encourage participation, and create cohesion across all media. Likewise, creative concepts are no longer limited to the art and copy-based executions that defined creativity in the traditional media of TV, print and outdoor. They now include digital experiences, gaming dynamics, mobile utility, Facebook apps, crowdsourcing and experiences that connect the digital world and the real world.

In this course you will study, dissect, analyze and conceive creative ideas that include traditional advertising, but that emphasize social media, digital platforms, mobile apps and gaming dynamics to understand how brands connect with consumers in the new age of participation.

By the end of the semester you should have a broader definition of “creative” and some experience in generating ideas that take into consideration consumer participation, the role of influencers, the value in branded utility, and the importance of emerging social platforms.

Objectives for the course or why you are here

·     Learn to think, solve, create

·     Expand your definition of advertising creativity and possibilities

·     Understand the new roles and teams in the modern creative process

·     Practice generating creative ideas, working as teams

·     Get better at evaluating yours and others’ work

·     Push beyond the basics of traditional art/copy advertising ideas

What you’ll be asked to do

Attend class

We meet but once a week, so attendance is mandatory. Missed classes will lower grades by half a grade per class. Three missed classes lead to an F.

Actively participate

A teacher can’t really teach creativity, students have to learn it by exercising their thinking and doing muscles. We can only be successful if you play an active role in class, engaging, debating, asking questions, contributing to the conversation.

Write (to help you think and analyze)

Creatives and strategists have to express their ideas well. As part of our learning you’ll maintain a blog and post a minimum of 13 weekly blog posts (approx 400 words) with links and appropriate embedded content in fulfillment of assignments. Example: find an innovative transmedia campaign, identify objective, back out audience/community, determine strategy, assess creative.

Present

Over the course of the semester each of you will make three or four stand up presentations of that week’s blog post content and findings.

Maintain an Idea Book and generate creative solutions

I haven’t totally figured this out yet, but am inspired by Professor Deb Morrison at U of O and her book on the creative process.

Develop campaign(s)

Work over the course of the semester will include individual assignments and a semester long team project.  The latter will consist of developing insight, strategy, driving brand idea, and campaign elements that include social media, mobile, experiential, utility and advertising.

Work/think/create all the time

Creating and thinking doesn’t happen in an allocated three-hour time slot once a week. Nor does it occur during the hours you schedule to do “homework.” It is a way of being and living. You want to learn to observe, discover, capture and develop creative ideas all the time. Inspiration is in the books you read, the movies you see, the museums you visit, the subways you ride. Learn to be open to it.

The Semester (presuming things go as planned)

Every class will include a brief lecture from me, student presentations, a full hour of workshop and creative development and in many cases guest speakers. Some pretty good ones I might add, presuming client presentations and new business pitches don’t get in the way.  (Don’t worry, Matt Britton: I will find a place for you.)

January 23:  The End of Us and Them

The transition from Bernbach to Zuckerberg

Creating in an age when readers and viewers want to create, too

January 30: Strategy in the age of participation

What is the brief, what does it look like, what does it inspire?

Guest:  Kelsey Hodgkins, digital strategist/planner, Mullen

February 6:  Is the big idea dead or alive?

Do we need them? Integration vs cohesion

Guest:  Dave Weist, Tim Vaccarino, ECDs Mullen (VW, Cadillac, Jet Blue, Google)

February 13: Social from within

Being social vs using social

Guest: Daniel Stein, CEO and Founder of EVB, creator of Elf Yourself and Facebook Studio

February 22 (Tuesday make up)

Surprise visit from young creatives who’ll work with the class on their projects while I am away for the week.

Week 27:  Transmedia story telling

Complex narratives that inspire participation

Guest:  Helen Klein Ross, Founder Brand Fiction Factory, Betty Draper on Twitter

March 5:  Strategic and creative in the mobile space

Where on the funnel?  Adding value through utility

Guests:  Mike Schneider, author of LBS for Dummies, Chief Innovator at Allen and Gerritson; Brenna Hanly, mobile catalyst and strategist at Mullen

March 19: Learning from the individual

What we learn from Gary Vaynerchuk, Sheena Matheiken, Dan Savage, et.al.

Guest:  Sheena Matheiken, founder/creator The Uniform Project

March 26: Creating experiences and owning the media

Go Mo, Shocking Barack, Chalkbot and more

April 2:  Crowdsourcing

A new marketing and creative tool/strategy

Guest:  John Winsor, Founder/CEO of Victors and Spoils

April 9: Inventing things

The importance of technology, innovation and APIs

Guest:  Matthew Ray, Creative Technologist

April 16: Thinking Small

Make great stuff with small budgets

Guests:  Michael Bourne, SVP Social Media and Michael Ancevic, SVP/CD on Olympus Camera’s Will it Blend, Pen Ready and Tough

April 23:  Do brands need a soul?

Having a purpose. Richard Branson, Alex Bogusky, Simon Mainwaring

Guest:  Scott Henderson, Founder of Rally the Cause

April 23:  Bringing it all together

Presentations from semester long projects

If I don’t suck, it will in part be due to the generous advice from the likes of Professors Tom Fauls, Deb Morrison, William Ward, Tracy Tuten and Scott Sherman. And insightful suggestions from some of the smart young professionals I work with, including Brenna Hanly, Angela Ruffino, Elena Romeu and Eli Perez de Gracia.

What do you think?  Got any suggestions that might help me out?

A lot of crowdsourced or co-created projects yield questionable results. But there seems to be a new formula that works pretty well. Short snippets of film edited into something wonderful by a talented curator/editor. We saw the first big example of this with Ridley Scott’s Life in a Day.  And this week we see another great effort from Mont Blanc to celebrate its 190th anniversary.

To honor Nicolas Rieussac’s invention of the chronograph – he recorded time to a fifth of a second in 1821 – Mont Blanc has challenged image makers to capture beauty in a single second of a film. Participants choose their favorite 60, each of which becomes part of a short film and qualifies to be chosen as the single best one-second video by director Wim Wenders. Hard to imagine that one one-second film can be the best, but someone’s got to win.

There’s also an opportunity to craft your own playlist of other people’s videos and be recognized for your visual prowess even if you choose not to submit.

Is this a good idea? I think so for a host of reasons.

• It’s a perfectly relevant idea. The beauty of a second. What better way to call attention to the chronograph?
• It’s remarkable easy to enter. Simply upload a film from a computer or mobile device.
• The prize is great: a trip to Berlin and a new Mont Blanc chronograph.
• The finished films that feature the top 60 seconds become something you can send to your friends with appropriate bragging rights.
• Mont Blanc generates a piece of content they probably couldn’t create themselves.
• And finally, the participants become a bit of a media channel, sharing and passing the videos around the web.
• Best of all, when you take a look at the first film, it lives up to the idea that a single second is plenty long enough to convey beauty.

Now if only the website weren’t, as Boing Boing called it, an obnoxious blob of flash.

My friend Erik Proulx is in the midst of his second Lemonade film, this one telling the story of what we all hope might be Detroit’s resurrection. As with his first film, the original Lemonade, it’s not government policy or unemployment checks, or even the bailout of the automobile industry – don’t get me wrong I was in favor of a better stimulus package than the one we actually got – that restores an economy, it’s personal and collective optimism, achievement and creativity.

And so it will be with Detroit. The often ill-fated attempts at urban renewal and the erection of shiny glass buildings are never what make a city great – it’s the people who live there. Erik’s film focuses on such people and as an exploration into the spirit and passion of Detroit residents intent on bringing the city back it paints a picture of hope and possibility.

Erik released the extended trailer of Lemonade Detroit right as I happen to be reading Edward Glaeser’sTriumph of the City. Erik’s premise is that with enough will power and motivation (the latter often comes from having got kicked pretty good) people have the ability to turn lemons into Lemonade. Glaeser’s hypothesis is that cities magnify those qualities. They attract innovators and entrepreneurs, place them in proximity to one another and encourage interaction, collisions and social mobility.

In the late 1800’s right before Detroit became the center of the automotive universe, the city looked a lot like Silicon Valley in the very early days of the computer industry.  Dozens of small, innovative firms and an army of entrepreneurs – Henry Ford, Ransom Olds, David Buick – fueled each other’s ideas, created a community of competition and attracted investors.

A culture of learning and experimentation, and communication among and between industry pioneers, led to the growth of both a city and an industry. Detroit was a center of knowledge. If you were in the car business you needed to be there.

But unlike Silicon Valley, where constant learning, education, and ideas continue to attract thinkers, Detroit’s industrial model led to the opposite: a culture and a massive scale production process which, according to Glaeser, turned out to be “antithetical to the urban virtues of competition and connection.”

Instead, because the assembly line made it possible to be highly productive without knowing that much, it killed the need for learning and attracted the kind of worker for whom learning didn’t matter. According to Glaeser’s thesis, as soon as that happened Detroit was destined to die. “When a city creates a powerful enough knowledge-destroying idea, it sets itself up for self-destruction,” the author writes.

In the end the same industry that made Detroit great ended up destroying it. The vertical integration of the automobile companies crowded out new ideas, spinoffs and alternative industries.

Erik’s film suggests that if urban re-invention is possible it will emanate from a diverse mix with of human capital. Entrepreneurs, artists, educators and other creative people are the ones who’ll make it happen. They’ll make new connections, riff off of each other, and maybe turn Detroit into the kind of city that Glaeser writes about: one that attracts smart people and enables them to work collaboratively to build something lasting.

Kudos to Erik for celebrating the human spirit and making us all more hopeful.

So Made by Many and Good for Nothing started the 50/50 project – the idea being to get friends and partners — advertising and digital agencies mostly — to launch 50 projects in 50 days to raise at least $1 million, perhaps much more, for relief. Today is the official launch day for many of those projects. October 16.World Food Day.

Our project at Mullen is called The Good Belly Project. We realize that we can’t actually transport food to East Africa. We can’t secure a fleet of helicopters. We can’t establish an on ground presence.

So here’s what we did. We launched a social-media powered fundraising partnership with 17 of Boston’s top restaurants and their customers using Instagram. Every time a customer takes a photograph of their restaurant meal and shares it, the participating restaurant will donate $1.00 to the Good Belly Project, which transfers 100 percent of the proceeds to UNICEF’s East Africa’s relief efforts.

Yes there’s a kind of absurd irony in posting photographs of gourmet meals in order to help people who are starving. But at the same time there’s a logic to it. It’s the ideal time and place to remind people who have plenty to eat how fortunate they are.  It taps into an existing behavior – food porn is pretty prevalent on photo sharing networks like Instagram. And it gives the participating restaurants something in return for their contribution. A bit of visibility and cred for supporting the cause.

I hope you’ll join us over the next few weeks. You can frequent the restaurants that have offered to help.  You can post food porn images. And you can, perhaps, realize how fortunate you are to have food in your belly and maybe write a big fat check to help those less fortunate. Feel free to make that donation here, at the Good Belly Project.

Good Belly Restaurants (links and addresses):

• Abigail’s American
• Bambara American
• Bergamot American
• Bon Me Truck Food Truck
• Figs Beacon Hill Pizza
• Figs Charlestown Pizza
• Fillbelly’s Food Truck
• Hillstone American
• Isabelle’s CurlycakesBakery
• Island Creek Oyster BarSeafood
• Kingfish Hall Seafood
• KO Prime Steakhouse
• Market by Jean GeorgesAmerican
• Naked Pizza Pizza
• Rialto Restaurant + BarItalian
• Sibling Rivalry American
• Stephi’s On TremontAmerican

The brilliant Robert Reich on us and them. He talks about why we can’t (or won’t) solve unemployment or address poverty among families with children. Reason? Us and them. They are not one of us. They are not in our community of concern. They are not people with whom we share interdependency. Too bad he’s not running the country.

You may never have heard of Jean-Philippe Vergne, Professor, R. Ivey School of Business, University of Western Ontario. But he will give you an entirely new perspective on the value of inviting your users, customers, community into the creation of your brand and company. He argues that pirates and hackers actually make things better. Those in control not so much.

And finally, this  young dude, Adam Braun. It’s not so much that he took up a cause, though he did. Or that he built 40 schools around the world, though he did. Rather it’s the idea that he has re-defined not-for-profit, labeling it “for-purpose,” and applying for profit principles and practices to Pencils of Promise.

There were many other great speakers and endless conversations about possibilities.  You can find more of them on the Zeitgeist YouTube page.  If you want to be totally blown away, watch some of the young minds talk about what they’re up to. You’ll either think you wasted your youth entirely, or that you better get on your kids’ asses real soon. If you’re a news junkie, check out Koppel and Ariana going at it(gently but still) in this panel conducted by New Yorker editor Nicholas Thompson.

Thanks to Google for sharing all of this content with those of us who attended and the many more who didn’t. Watch. Learn.  Be inspired.

A month ago I crowdsourced questions here and on Twitter for the instructors at BDW’s Making Digital Work workshop.

We settled on five.

How do we get clients to embrace more innovative work?

What can we learn from software startups?

Do agencies have a role in social media?

How do we stop the talent drain?

What kind of people should we hire?

Here are the answers from my good friends and teachers Matt Howell, Gareth Kay, Kim Laama, Tim Malbon, Sheena Matheiken, Scott Prindle and John Winsor.I weigh in, too.

Some of my favorite soundbites:

Matt Howell on innovation: If we’re serious about selling more progressive work we have to get serious about investing in prototyping, showing how something works and how you’d interact with it.

Gareth Kay on social media: One of the biggest problems with social media is that people are too focused on the media part of social media instead of on the social part.

Sheena Matheiken on software inspiration: Developers in general, especially the creatively inclined ones, are such doers. They just create stuff. They don’t sit around and noodle. They make and prototype.

Tim Malbon on software inspiration: Try not to treat what you’re trying to make like a piece of traditional media. It doesn’t need to be designed massively up front. It can be cruder; it can be quicker.

John Winsor on retaining talent: Traditionally agencies are siloed. The creative department stands on a pedestal. The account people are there to serve them. Strategy is somewhere in between. But great ideas come from everywhere so you need to set up a system that accepts that great ideas come from everywhere.

Scott Prindle on hiring: The core quality is an entrepreneurial spirit. Someone who is passionate about the digital space, maybe someone who thought about being in start-up. They have to come into the into the agency and quickly generate ideas and move things forward.

One thing about all of these folks is that they’re willing to share. Ideas, advice, insights. Take a look and connect with them on Twitter. It will be worth it. Thanks for stopping by.

As you’ll see, there’s Twitter volume and sentiment about both the Red Sox and individual players. You can filter it by time frame using the horizontal bar across the top of the page, or by state and region, using the map below the player’s analysis. If you want to participate, you can tweet from the page, which will automatically add a #PulseRedSox hashtag, or simply include that tag whenever you tweet about the Sox. Prefer pictures to words? We’re streaming Instagram, too, using the same #PulseRedSox hashtag.

If you’re an advertiser, The Pulse lets you engage in a much better way than just buying a banner ad. You can post in a branded tweet box at the top of the stream or additionally join the conversation via the hashtag. And, as an added bonus, we’ve created what we think is the first ever Instagram ad. You can always post images in the stream using the hashtag, but if you’re sponsoring the page, your images will also be scheduled to appear in larger sizes photos, filling the Instagram box for a few moments before returning to the stream. The only catch – but it’s a good one — is that you have to make your ad using Instagram nomenclature. Think picture plus Labelbox.

Oh, I should also mention that the widgets you see on the The Pulse, will eventually be  embeddable. Which means we can make them branded units, run them on other sports pages on Boston.com and release them to bloggers to add to their sites.

The thinking behind The Pulse? Simple. The lines between content and readers, brands and consumers, old media and new media are blurring. Why not accelerate the merger?  We’re inviting readers and fans to get more involved with a topic they care about. We’re providing access to data so they can see what the rest of the community thinks. And we’re inviting loud-mouthed or, better yet, clever SoMeSox fans to build their own community of  followers using this public page.

Right now The Pulse is in beta. We know it’s far from perfect and that some of our basic assumptions about what features to develop might be wrong. We probably need more team and player stats in the form or pop-up windows. We need better scrolling for the Instagram images. But most importantly we need feedback. Since we didn’t build this first phase using lean startup techniques, we now have to learn fast, iterate and test again. So please help us out.

Check out The Pulse. That alone will give us some data – sources of traffic, time on page, most engaging widgets, etc.  But give us more feedback if you can.  If there’s not feedback link there yet (we’ll have it there soon), you can leave suggestions here.

Does it work?

Would you use it?

Would you tell your friends?

If not why?

What’s missing for you?

Do you even care?

We want to learn and get it better. That way we can make The Pulse/NE Patriots, The Pulse/Campaign 2012 and The Pulse/Whitey On Trial a lot better.

Thanks for reading and for checking out The Pulse/Boston Red Sox.