We all know them, those types who just, can't, hold, it, in!
You know, the people that go to meetings and to hell with the agenda, they've got something to say and they'll hijack the entire meeting to get their point across.
We have all worked with these people from time to time, heck I've BEEN that person from time to time! And as much as everyone groans when they see that So-and-so the loud mouth has been invited to a meeting, I'm here to tell you that these people can actually be incredibly useful, if you approach them in the right way.
I call them Disruptive Thinkers, they are usually very passionate about what they do, often quite knowledgeable, and best of all, are prepared to share their thoughts on what's not working and how it can be fixed. Their brains operate differently to other people's and the way they think about issues can be viewed as disruptive. For them challenging the status quo IS the status quo.
BUT you need to work with them in order to get the best out of the relationship.
Firstly you need a strong Chairperson, in any meeting with a Disruptive Thinker you can anticipate when they might want to take the floor, and thus prepared you can allocate time for this to happen and politely shut it down when it's gone on too long.
"Thanks for that, I appreciate your input, now if we could just hear from some others at the table", is one way to keep things in a box.
I often promise to take that discussion thread offline and meet up with the DT later on and then make sure I do.
Another tactic is to invite the DT to form a sub-committee so they and some others can work on his particular hobby horse.
One thing I have found from the DT's of this world is that when asked to contribute, the good ones will do so readily, almost always reading and providing feedback on documentation in a prompt fashion, be willing to brainstorm solutions and the like.
They also like being leveled with, you can say "This project is a bit of a shermozzle but the CEO is pushing it through before the end of Fin Year", they'll usually appreciate your candor and will modify their input accordingly and swing into "Lets get this thing sorted quick" mode. Because paradoxically DT's are actually good team players.
The worst thing you can do with a DT is to sideline them because they are too much like hard work, that will only make them fester and spread their dissatisfaction more widely. It's much better to grit your teeth and engages them so they can walk around the office saying "This thing is terrible but Ricky and I are working on a solution." than have them say "This thing is terrible and no body listens to me, so it's only going to get worse.".
Anyway if you have any disruptive thinkers in your midst, I encourage you to seek them out, engages them, you'll find the rewards will be much greater than the effort.
Showing posts with label Marketing;. Show all posts
Showing posts with label Marketing;. Show all posts
Monday, 26 January 2015
Tuesday, 11 June 2013
The Skywhale and social media
Recently we Canberrans witnessed that most rarest of beasts, an artistic undertaking with genuine cut-through into the mainstream and massive social media buzz.
I speak of course of the Skywhale. (Video here )
The major artistic commission for the Centenary of Canberra, this incredibly bold and successful artwork was revealed over the last few weeks to an unsuspecting Canberra public and boy did it get people talking! And not just locally, nationally and internationally as well.
I've posted a list of the coverage below but from the UK, to Europe, Lebanon, Brazil, China and beyond the reach of this work across social media, MSM and more was truly staggering.
But my interest was less about do I like it (yes), do I think its successful public art (yes) and do I think its value for money (yes) but more about whether the work was commissioned in part because of the social and MSM stir it was likely to cause, (and whether any artistic director would ever openly admit this possibility!) or was it purely the result of brave artistic decision making and the coverage followed.
I am also interested in exploring if factoring in "conversation-start-ability" from the outset is good (us marketing types are always pleading for more consideration of audience at the early stages of artistic creation) or unwise (in that it may led to compromised artistic decisions or doing things for the wrong reasons).
I posed the question of being motivated by the possibility of a 'buzz' from the start to Robyn Archer, Artistic Director of the Centenary, amazingly she responded to my within 24 hours with a very considered response. I publish her full response here:
So there you have it in the most eloquent and verbose of terms - No Archer does not pre-suppose reactions to a work when curating artistic output. And I for one firmly believe her.
But this work is a visual art piece and most of my readers (yes there ARE some I'm told!) come from the performing arts realm. Interested in a theatre programmer's response to the Skywhale and the central premise of considering conversation-start-ability from the outset I asked Simon Hinton CEO and AD of Merrigong Theatre Company, one of the best thinkers in business and a good mate for his thoughts.
So there you have it make brave artistic choices that connect with people and the world will beat a path to your door and in the age of social media they will beat that path faster than ever.
SKYWHALE COVERAGE INCLUDES (not a complete list!):
I speak of course of the Skywhale. (Video here )
The major artistic commission for the Centenary of Canberra, this incredibly bold and successful artwork was revealed over the last few weeks to an unsuspecting Canberra public and boy did it get people talking! And not just locally, nationally and internationally as well.
I've posted a list of the coverage below but from the UK, to Europe, Lebanon, Brazil, China and beyond the reach of this work across social media, MSM and more was truly staggering.
But my interest was less about do I like it (yes), do I think its successful public art (yes) and do I think its value for money (yes) but more about whether the work was commissioned in part because of the social and MSM stir it was likely to cause, (and whether any artistic director would ever openly admit this possibility!) or was it purely the result of brave artistic decision making and the coverage followed.
I am also interested in exploring if factoring in "conversation-start-ability" from the outset is good (us marketing types are always pleading for more consideration of audience at the early stages of artistic creation) or unwise (in that it may led to compromised artistic decisions or doing things for the wrong reasons).
I posed the question of being motivated by the possibility of a 'buzz' from the start to Robyn Archer, Artistic Director of the Centenary, amazingly she responded to my within 24 hours with a very considered response. I publish her full response here:
“I am wholly familiar with media attention of this order. I commissioned Rafael Lozano Hemmer for a major work at Federation Square for The Light in Winter. Entitled Solar Equation, it had worldwide coverage in old and new media. We were delighted in the role that social media played in extending the conversation about that work beyond just Fed Square , Melbourne and Australia. We quantified it at around A$4.2 million. So I’m aware that this kind of interest can happen. At no time do I aim for this. Others may feel the need to consider either markets or reactions, but I don’t.
When I have the privilege of commissioning new works from internationally recognised artists, the only aim is to invite them to use their immense skills and creative powers to bring a new work into the world. For the Centenary, composer Andrew Schultz researched and was inspired by the Canberra story for Symphony No 3: Century, visual artist Jyll Bradley was inspired by Canberra’s history and love of trees for City of Trees , choreographer Garry Stewart has researched and been inspired by Aldo Giurgola’s democratic Griffin-inspired approach to New Parliament House for the new ballet, Monument, which will premiere end May, and Patricia Piccinnini has launched her next major sculpture, The Skywhale, which is not only a continuation of the themes of evolution which permeate all her works, but was inspired by Patricia’s years growing up in Canberra where she perceived an ‘artificial city’ set in a natural landscape: she has created an ‘artifical’ , yet in evolutionary terms quite imaginable, creature to fly ( this is a very great feat) in a natural landscape. It evokes so many thoughts, if people are just able to open their minds, lift their curiosity, and use The Skywhale to stimulate their imaginations. If lifeforms, like whales, had not turned back to the sea to evolve and adapt, they might have gone into the air, and something like The Skywhale might have emerged - it is no ‘uglier’ than a camel or a rhinocerous might appear if you’d never seen one before.
Also I love to consider Canberra as the ‘artificial city’ now having grown into a real city: The Skywhale first appeared as an artificial creature, but amongst her millions of followers ( the coverage has now reached more than thirty countries, hundreds of media outlets, and many thousands of social media responses) she is already ‘real’. I’m also delighted that Canberra is now known by so many more people throughout the world, and known again for its courage in boldness and innovation ( as it was in 1912 for choosing an unlikely winner for its design in Walter Burley Griffin) ; and that the name of the Canberra raised and educated artist Patricia Piccinnini has spread throughout the nation, and the world, through this commission.”
So there you have it in the most eloquent and verbose of terms - No Archer does not pre-suppose reactions to a work when curating artistic output. And I for one firmly believe her.
But this work is a visual art piece and most of my readers (yes there ARE some I'm told!) come from the performing arts realm. Interested in a theatre programmer's response to the Skywhale and the central premise of considering conversation-start-ability from the outset I asked Simon Hinton CEO and AD of Merrigong Theatre Company, one of the best thinkers in business and a good mate for his thoughts.
"I honestly can't say I've ever really thought about a work "that's sure to get some twitter / facebook chatter". I do think the natural focus is on securing the best artists to make and show the most exciting work they can, and hope the response and it's echoes take care of themselves. I do think though that the worst thing for a programmer is a lack of audience response. I don't mean a lack of bums on seats (though that's also obviously a problem), I mean that sometimes we don't get a good box office response but the audience that does come has a big response to the work - whether positive or negative - and I guess then we know we have connected with them.
Social media is really just an extension of word of mouth, which has always been our most important marketing tool. Silence is, I guess, the worst possible response - we need people to react one way or the other, to have a way of gauging success. We are starting to have more internal conversations about identifying works that we think are great but almost impossible to communicate to an audience - you know, "those that come will love it, but how do we make them understand that they will love it?". These are the shows that really need the social media response.
I would see Sky Whale as a huge success - it got a big response, and given the conceptual nature of the work, debate about what it means, what is its worth as a piece of art etc. is the desired response. I would see that as "mission accomplished". The "what a waste of money" crowd won't ever understand that their response is kind of the point - in debating the merits of the work, they've contributed to helping define who we are, what we value as a society etc. The irony, I guess, is that in trying to attack the work, they unwittingly make it successful, not only in being part of the desired debate, but of course in bringing attention to it in social media, which is now always echoed in MSM."
So there you have it make brave artistic choices that connect with people and the world will beat a path to your door and in the age of social media they will beat that path faster than ever.
SKYWHALE COVERAGE INCLUDES (not a complete list!):
Wikipedia: http://en.wikipedia.org/wiki/The_Skywhale
Gulf News: http://gulfnews.com/news/world/other-world/gigantic-skywhale-splits-opinion-in-australia-1.1182066
Huffington Post France: http://www.huffingtonpost.fr/2013/05/10/montgolfiere-skywhale-patricia-piccinini_n_3251825.html?utm_hp_ref=france
Lavenir.net (France): http://www.lavenir.net/article/detail.aspx?articleid=DMF20130510_00308495
Liberation (France): http://www.liberation.fr/culture/2013/05/12/une-baleine-flotte-sur-canberra_902343
Daily Star Lebanon: http://www.dailystar.com.lb/Culture/Art/2013/May-11/216685-aussie-opinion-split-over-the-skywhale.ashx#axzz2T7xGch9V
Australiatimes.com.uk: http://www.australiantimes.co.uk/news/in-australia/canberra-skywhale-birthday-balloon-floats-into-critical-storm.htm
Telegraph UK: http://www.telegraph.co.uk/news/worldnews/australiaandthepacific/australia/10048688/Canberras-Skywhale-splits-opinion.html
Bigpond news: http://bigpondnews.com/articles/OddSpot/2013/05/11/Canberrans_flock_to_see_Skywhale_fly_871301.html
Metafilter: www.metafilter.com/127918/Meet-the-Skywhale
Designyoutrust.com: http://designyoutrust.com/2013/05/the-skywhale/
Stromfront.com (white pride world wide): http://www.stormfront.org/forum/t965993/
Heart Radio Bristol: http://www.heart.co.uk/bristol/news/local/skywhale-inflates-west/
Getty images: http://www.google.com/hostednews/getty/article/ALeqM5jOXajVgMMFdHimG39eUJnOlTQraA?docId=168532563
iPress.hr (Croatia): http://www.ipress.hr/magazin/kontroverzni-skywhale-poletio-iznad-canberre-27435.html
New Tang Dynasty Television: http://ntdtv.org/en/news/world/asia/2013-05-11/giant-flying-whale-seen-over-canberra-on-100th-anniversary.html
News Talk ZB (New Zealand): http://www.newstalkzb.co.nz/auckland/news/nbint/1072443119-big--busty-whale-takes-to-canberra-s-skies
Metro UK (best news pics from around the world): http://metro.co.uk/2013/05/10/gallery-window-on-the-world-10th-may-2013-3754501/
Wow Keren (Indonesia): http://www.wowkeren.com/berita/tampil/00035039.html
Die Welt (Germany): http://www.welt.de/print/die_welt/debatte/article116075457/Australisches-Flugobjekt.html
International Business Times (Japan): http://jp.ibtimes.com/articles/44047/20130511/305064.htm
Thanh Niem (Vietnam) http://www.thanhnien.com.vn/pages/20130512/khinh-khi-cau-ca-voi.aspx
De Redeactie.be (Belgium): http://www.deredactie.be/cm/vrtnieuws/videozone/ookdatnog/MV_130511_R_skywhale%2B%2B
Hoboktn (Russia): http://www.novosti.rs/vesti/naslovna/reportaze/aktuelno.293.html:433165-Dzinovska-kornjaca-za-100-godisnjicu-Kanbere
Novinky(Czech Republic): http://www.novinky.cz/koktejl/301597-nemravny-balon-s-poprsim-preletel-australii-provokoval-lidi.html
Schwabische(Germany): http://www.schwaebische.de/journal/vermischtes/aus-aller-welt_artikel,-Kunstwerk-als-Wal-mit-zehn-Bruesten-verunglimpft-_arid,5435857.html
World Journal (China): http://www.worldjournal.com/view/full_news/22546742/article-%E6%BE%B3%E9%A6%96%E9%83%BD%E7%99%BE%E6%AD%B2-%E9%80%81%E5%A4%A9%E9%AF%A8%E5%8D%87%E7%A9%BA?instance=news_pics
National
Daily Telegraph: http://www.dailytelegraph.com.au/news/opinion/why-whale-over-an-ugly-turtle-full-of-hot-air/story-fni0cwl5-1226640612585
Fairfax regional: http://www.thecourier.com.au/story/1494424/skywhale-over-canberra/?cs=70
Australia glory: http://www.australiaglory.com/news/act-doesnt-own-skywhale
Urban dictionary: http://www.urbandictionary.com/define.php?term=Skywhale&defid=7049053
UnexplainedMysteries.com: http://www.urbandictionary.com/define.php?term=Skywhale&defid=7049053
Local
Blogs:
Blondeinc: http://blondeink.net/?p=2921
In The Taratory: http://inthetaratory.wordpress.com/2013/05/11/skywhale-launch/
Friday, 15 March 2013
Take Part: Project update
Take Part is a brand that I invented to cover Canberra Theatre Centre's extended experience initiatives Like most theatres we had been doing pre show forums, post show Q and A's and ad hoc dance workshops for years but it took the case studies described in the book Counting New Beans and and the experience of watching the work of Big hART to crystallise into something more.
The genesis was that, and I think I have covered this before, Canberra Theatre Centre doesn't really make or commission any new work. We are, in strict marketing terms, a re-seller or a retailer of pre-existing product.
So in terms of contributing culturally to the community our primary function is then in the art of curating. The trouble with that is that because the work is created elsewhere there is little additional impact for our local community other than the social inclusion and aesthetic appreciation and perhaps for particular work various intellectual or social/political messages that patrons are left with.
So how to take what is effectively re-sold product but more actively engage with our community?
The answer was Take Part. Where other theatres could trumpet certain works being "live and local" we now had a program that said "come and be part of what we are doing, actively take part in the stories we are telling". As we all know the impact of a two-way participative experience versus a one way passive experience is much greater.
A simple message that worked wonders. what was previously an amorphous concept, suddenly became a sea of opportunities waiting to happen. The question "could this be a Take Part opportunity" became common place within our office walls. The answer was usually 'yes, of course!'.
Now twelve months on how is it going?
The answer is great.
We started in March last year with 20 odd people watching a free movie screening of Summer of the 17th Doll after our season of the same play, and 30-40 attending a social history seminar. We progressed towards a sold out (30-40) language workshop with Big hART for Ngapartji Ngapartji and now three shows into 2013 our three major Take Part programs all sold out. 60 people for an intimate morning tea with John Bell, 100 tickets booked for the Secret River social history talk and 250 people to hear Gill Hicks ahead of the play Thursday.
The program now has the capacity to attract an audience ten times the size of what we started with in just one year.
Crucially all the programs aim to add value and insight into the work on stage and all aim to give the partons the chance to engage actively with the work, Gill Hicks was most generous with her question time.
Having seen audiences grow to the point where this is now a project that has serious sustainability, the next step is to hopefully measure the intrinsic impact of those who attended
Take Part functions and saw the shows and those who did not. But as always these things take money so it's an ambition just now but we'll see,
I am very happy to discuss this initiative with those in the industry and nothing would pleas me more to see this model, shift us all out of post show Q&A land (but still keep doing these) and into wide new range of Take Part opportunities across the board.
It can work, we've seen it work, we now just need to show exactly what the impact is.
The genesis was that, and I think I have covered this before, Canberra Theatre Centre doesn't really make or commission any new work. We are, in strict marketing terms, a re-seller or a retailer of pre-existing product.
So in terms of contributing culturally to the community our primary function is then in the art of curating. The trouble with that is that because the work is created elsewhere there is little additional impact for our local community other than the social inclusion and aesthetic appreciation and perhaps for particular work various intellectual or social/political messages that patrons are left with.
So how to take what is effectively re-sold product but more actively engage with our community?
The answer was Take Part. Where other theatres could trumpet certain works being "live and local" we now had a program that said "come and be part of what we are doing, actively take part in the stories we are telling". As we all know the impact of a two-way participative experience versus a one way passive experience is much greater.
A simple message that worked wonders. what was previously an amorphous concept, suddenly became a sea of opportunities waiting to happen. The question "could this be a Take Part opportunity" became common place within our office walls. The answer was usually 'yes, of course!'.
Now twelve months on how is it going?
The answer is great.
We started in March last year with 20 odd people watching a free movie screening of Summer of the 17th Doll after our season of the same play, and 30-40 attending a social history seminar. We progressed towards a sold out (30-40) language workshop with Big hART for Ngapartji Ngapartji and now three shows into 2013 our three major Take Part programs all sold out. 60 people for an intimate morning tea with John Bell, 100 tickets booked for the Secret River social history talk and 250 people to hear Gill Hicks ahead of the play Thursday.
The program now has the capacity to attract an audience ten times the size of what we started with in just one year.
Crucially all the programs aim to add value and insight into the work on stage and all aim to give the partons the chance to engage actively with the work, Gill Hicks was most generous with her question time.
Having seen audiences grow to the point where this is now a project that has serious sustainability, the next step is to hopefully measure the intrinsic impact of those who attended
Take Part functions and saw the shows and those who did not. But as always these things take money so it's an ambition just now but we'll see,
I am very happy to discuss this initiative with those in the industry and nothing would pleas me more to see this model, shift us all out of post show Q&A land (but still keep doing these) and into wide new range of Take Part opportunities across the board.
It can work, we've seen it work, we now just need to show exactly what the impact is.
Saturday, 1 December 2012
It's about people!
Do you know what the average stay is for a person after they have asked for and then received a raise?...
.
.
.
.
.
...Six weeks...
.
.
...I'll say that again
..
...
.... Six. Weeks!
I wish I could cite the source for this research but I can't, I stumbled across it half way through one of those ABC News 24 Big Ideas seminars and I found myself so completely lost in the content that in no time it was over and I had no idea who was speaking. Subsequent visits to the Big Ideas website were unhelpful in my quest.
The crux of that gem of information is of course NOT that there's no point offering people more money, which of course you should do, especially if those people are me. But at the point where somebody is finally saying "I need more money or I'm going" they have progressed so far beyond the point of money being the key driver for their level of satisfaction, they will also at that point have a gazillion job applications out in the market place as well so it's no surprise that they had an offer come in about the same time as their raise.
No the point made by my anonymous teacher was that human beings are pretty universal in our drivers and money is not always the key motivator.
Another bit of research cited was that of workers in a developing community, some were offered BIG extra financial incentives to improve productivity and some were offered small ones. I think I am remembering correctly that the small incentive actually out performed the big one. Now that is not to say you should never give people big pay rises, especially if those people are me... but that again to further illustrate that money is not the key driver.
So what is.
The Clever Dude that was talking said it was two things:
- Self determination and
- Mastery of skills
These are the golden tickets to to employee satisfaction and greater overall gains for your business.
When people feel they have a level of autonomy, of control over their own destiny, they will take that on. They'll care more, they will feel more satisfied, they will OWN their successes and failures. Within my own team I am constantly doing this, my gang basically know the boundaries of the playground they work within and how much self-determination they have within it. It means that sometimes, many times, their execution of marketing campaigns differs slightly to how I would do it. I do not stop this. I encourage it. For example I have one staff members who has a long history in press, her campaigns usually have a greater press spend than my campaigns would, BUT precisely because of her knowledge they are usually more informed press spends. The net gain or loss to the campaign is practically impossible to measure, I just smile when I see her campaigns and think "Oh of course the press spend is higher". (Although she will now twig when she reads this blog!)
More tellingly however is what happens when people are denied self determination, care and attention to detail goes out the window, satisfaction levels sink and efficiency goes into the toilet as everybody queues up outside the manager's door to have even the smallest of details ticked off.
Then there's mastery of skills, people spends hours and hours of their spare time learning to play the guitar, many badly, and never is there any sense of future financial gain in this. The satisfaction gained form mastering a skill is innate. You can see it in chimps, the hours they spend learning a new dig the termite out with a simple stick tool trick, the pay off is not just in the food (termites - yum!) but you can see the pleasure on their faces in the "YES I've got it" moment.
So WHY OH WHY does every organisation automatically cut spending in hard times? Mine did. And I bet yours did too.
Giving people scope within their role to master their skills, time to play with new tools, time to hone their writing, design skills, or play with Instagram whilst assessing its use for your business is immensely satisfying to them and comes back to your business in spades.
When I'm asked by my team if they can purchase certain tools (software, camera equipment etc) if the cost is in the hundreds, I'm a walking yes factory. Seriously if they are keen enough to achieve whatever it is that thing will achieve why on Earth would I say no? it can only be to mine and the company's benefit in the end. (OH yeah Managers - empowering your staff to do good work makes you look better - remember this!! YOU get kudos for doing not much, it's a win-win!!)
Clever Dude had countless examples, you know places like Google that give staff X% of free time at work to work on random fun projects of their own determination. Those policies are the ultimate expression of both major points he was making. Sometimes these play moments end up making for the company major new product innovations that never would have happened under a more task-oriented work environment.
But we as managers can start more simply, with our attitudes, policies and procedures, by fighting for our training budgets and although I haven't covered it here, of course positive feedback when staff have done well, and constructive feedback when things need to be worked on (There's NEVER any need at that point to say 'BAD staff member BAD', people are bright, if they have ownership, which they will have because you will now give it to them - right? right?, they'll own that error and guaranteed it won't happen again because they care)
Well that's it for today and if you saw the speech I'm remembering or reckon you know the dude I'm talking about PLEASE shoot me Clever Dude's real name I'd love to read ALL of his stuff!
Sunday, 16 September 2012
AFL clash Jumpers and brand values
OK so it's footy finals time which means it's time for me to address my pet hate THE CLASH JUMPERS IN THE AFL.
But because this is a marketing blog, of sorts, I'll use marketing-ese to state my case.
Firstly, what is a football club? What is it about these entities that inspires such passion? (AFL is per capita far and away the highest attended sport in the world.)
If it were the players then memberships and support would drop overnight when an insanely popular player like Richmond's Matthew Richardson retires. But guess what it doesn't, and it didn't. Fans love their players, but they love next year's crop just as much as they loved last year's.
We know it's not the coaches or other officials either, it also isn't the home ground as no one except for Geelong plays at home any more.
No it is the fierce inter club rivalry that inspires passion, the tribal connection people feel to an amorphous entity known as Carlton, Essendon or Collingwood. A rich set of experiences, a shared history going back more than 150 yrs for some, and an anticipated future. And the only tangible representation of all of this is the jumper, the club emblem that the players where across their chest.It is the quintessential brand, more than a trade mark its a love-mark, more valuable to some fans than their own wedding rings.
So what does the AFL do? they decide for purely pragmatic reasons (to more clearly identify opposing players on the field) they force clubs to trot out 'clash strips' and then for reasons only know to the clearly vision impaired bloke at the AFL that decides such matters, force clubs to wear them even when their is no obvious clash, sometimes making the clash worse!
It goes without saying that people have watched almost 100 years of the worst clash, Collingwood V North Melbourne (even on black and white TV) without ever having a major problem but all of a sudden over the last decade this has become SOOO crucial that the AFL feels it is more important than tampering with the one tangible connection a fan has to his/her clubs culture the jumper.
Look at these pictures, Essendon are RED and BLACK, it's powerful, passionate and strong - not insipid grey. North Melbourne are a vibrant royal blue it speaks to their aspirational working class culture and traditional style of play, they are NOT some Diego Maradonna Argy uniform rip off. And the iconic CFC on the old dark navy blue is regarded as up their with the All Blacks as one of the best jumpers in world sport - WTF to this light blue version!
DEAR AFL - Fans follow their club, the most tangible representation of their club is the jumper, the jumper IS the brand. it may not seem important to you but given that you slap the AFL brand on more items of shoddy merchandise than Krusty the Clown one shouldn't be surprised.
PLEASE return back to a more relaxed approach where only the absolute worst examples require clash strip and tolerate minor jumper changes such as socks and the like to achieve the desired result STOP tampering with our love-marks.
I suppose the lesson for marketers out of this rant is to think, what part of your organisation is really important to your fans? And be conscious when what seems like a pragmatic change might actually cause an unpragmatic emotional response.
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