In-store good or at-home good? is a post from a while back here at SvN. Here’s an updated take on the subject…

You know what it feels like. You go to a store. You’re comparing a few different products and you’re sold on the one that sounds like it’s the best deal. It’s got the most features. It looks the coolest. The packaging is great. There’s sensational copy on the box. Everything seems great. 

But then you get it home and it doesn’t deliver. It’s not as easy to use as you thought it’d be. It has too many features you don’t need. You end up feeling like you’ve been taken. You didn’t really get what you needed. And you realize you spent too much. 

You just bought an in-store good product. That’s a product you’re more excited about at the store than you are after you’ve actually used it. 

Smart companies make the opposite: something that’s at-home good. At-home good is when you get a product home and you’re actually more impressed with it than you were at the store. You live with an at-home product and grow to like it more and more. And you tell your friends too. 

When you create an at-home good product, you may have to sacrifice a bit of in-store sizzle. A product that executes on the basics beautifully may not seem as sexy as competitors loaded with bells and whistles. Being great at a few things often doesn’t look all that flashy from afar. That’s ok. You’re aiming for a long-term relationship, not a one-night stand.

This isn’t just about in-store packaging or displays. It’s true for advertising too. We’ve all seen the TV ad for some “revolutionary” gadget that will change your life. But when the actual product arrives in the mail, it turns out to be a disappointment. In-media good isn’t nearly as important as at-home good. You can’t paint over a bad experience with good advertising/marketing.

In Artistic Value of Thriller [via JS], “Scorpeze” writes that many overlook Michael Jackson’s role as a songwriter and producer on his landmark albums and tend to overestimate Quincy Jones’ role. The post includes links to demos (Billie Jean, The Girl Is Mine) that MJ created for those records. Assuming they’re legit, it’s pretty amazing how close they are to the final product.

From a biz/marketing perspective, it’s also interesting to note how many risks MJ took on Thriller. There were so many things on there that people said you couldn’t do on a R&B record. But he did ‘em anyway and created the biggest selling album of all time.

people glaze over it now…but what soul/R&B figure could create a hit rock record that was embraced across the board…AND considered authentic by the rock audience?(the snobs may have been pissed off, but they werent the ones buying the records)…what soul/R&B cat was collaborating with Van Halen….and have it WORK?

it wasnt Prince….w/out Beat It, could you have a Let’s Go Crazy?

what other soul/R&B cat could get one of the Beatles on Black radio in the 80’s?

what soul/R&B cat would get Vincent Price to drop spoken word in the middle a funk/R&B cut cum horror movie?

who was else at the time was incorporating African chants and percussion at a time when everyone was whitening it up sonically(including MJ)…and who would reference Soul Makossa in the 80’s?

listen to the fact that a Black artist who was considered strictly soul/R&B decided to do a stylistic tour de force in one album when it hadnt been done before…

Thriller had: Funk straight R&B Quiet Storm MOR Pop Rock

…all in one album by a Black aritst when such a thing was not only unheard of but frowned upon…..

futhermore, on Thriller he spoke abt teen preganancy, gang violence, challenging the social constructs of manhood, the culture of gossip, emotional blackmail, obsession, false accusations of paternity, and belief in one’s self…

fluff?

these are ARTISTIC RISKS….they could have gone horribly awry, but they didnt….he did the record HIS way….and in a rare occurence that we will only see once in a lifetime, hit the bulls-eye and pleased EVERYBODY…the effects of that had both deep positive and negative effects on his work and the entire music industry after that….

Looking back, it all seems perfectly logical. It’s easy to forget how much of a singular vision it took to pull off that unique combo of ideas.

Some have doubted our advice that you should hold on to your day job and start something on the side. They argue building a business requires such persistent effort that you need to devote all your time to it to do it right.

And it’s true that building a business requires plenty of time and effort. But the idea that you need to quit your job to do it right is misguided. If you quit your job, you shift everything. You don’t gain time, you lose it. You put a shot clock on your business. You box yourself into a position where you have to profit immediately or the whole thing goes under. You’ve got to make it work now or give up forever.

Hanging on to your day job gives you a longer period of time to build your idea. It lets you give a sustained effort over time. There’s no get rich quick option. You build it slowly, one day at a time.

Yes, you need to find time to do both your side business and your normal gig. But there’s always enough time if you spend it right. Instead of watching TV or playing Grand Theft Auto, work on your idea. Instead of going to bed at 10, go to bed at 11. We’re not talking about all-nighters or 16 hour days – we’re talking about squeezing out a few extra hours a week. That’s enough time to get something going and then keep giving it gas.

Let your side business evolve into a full-time business naturally. Go for organic growth. Start as a side project. Build it slowly. Keep putting time into it. As pickup of your project grows, then you can justify devoting more resources to it. Eventually, if everything goes according to plan, you’ll be able to quit your job and devote all your time to it (if that’s what you want). But doing so right out of the gate is putting the cart before the horse.

Think how evolution happens in nature. There aren’t huge leaps. Things incrementally change. That’s the model to shoot for.

So the Lakers win another NBA championship. I haven’t always been a fan, but I’ve got to admit it was really fun to watch Kobe Bryant this season. He seemed to have an almost maniacal determination to win another championship. People compare him to Michael Jordan and, while they’re both incredibly talented, you get the feeling that what really separates them from the pack is how badly they want to win.

Along those lines, a great documentary to check out is Spike Lee’s Kobe Doin’ Work (Netflix). Bryant gave the filmmaker unprecedented access to his life for one game. He’s mic’d up, 30 cameras follow him, and coach Phil Jackson lets the crew into the locker room before the game, at halftime, and after the game too. Here’s a preview:

It’s fascinating to watch even though the game was a blowout. Also, there’s a great storytelling lesson here too: Tell a story about less. See, the impulse is to go for a grand tale. In this case, it’d be to prove how great Kobe is by profiling his entire career or trailing him for an entire season. Along the way, you’d interview teammates, experts, etc. And you’d come up with a pretty generic piece.

By focusing on just a single game, Lee put a magnifying glass on how Kobe plays. Cameras trail his every move so during every timeout and every play, you get to see and hear how Kobe guides his teammates. It completely changes the way you view both the player and the game. There’s no filler or outside input. It’s just a laser focus on this one subject during this one day.

Sometimes it’s easier to get a big message across if you narrow your scope. It’s what we tried to do with our Behind the scenes at 37signals series which presented a look at one week of 37signals’ Campfire usage. Not as exciting, perhaps, but the idea was similar: To tell the big story of how integral Campfire is to us, it was best to focus on a short period of time. Sometimes the perfect way to explain a universal truth is through an individual example.

Also, if you watch the documentary, Lee is incredibly loose with how he asks his questions. It means that Kobe is really relaxed and open with his answers too. If you’re ever doing interviews, it’s something to note: Go in with stiff questions and you’ll probably get stiff answers. Go in loose and you’re more likely to get your subject to open up and admit things to you they probably wouldn’t otherwise.