When Brand hits the fan…

Branding at its best is the crafting or developing of an idea that extends a benefit to consumers while maximizing the recognition and returns to the producers or owners in a positive manner. Therefore, the term “Branding” carries a definition along with a series of expectations. In its most classic form, it is the intentional representation of a company, establishment, thing, or person that is both exuded and projected. We deal with this form of branding every minute of everyday.  

However, there comes a time when some intentional efforts at branding go awry and leave a swath of destruction in their wake. Such is the case with a Baltimore, Maryland restaurant named Café Hon. The owner of the establishment, Denise Whiting found herself embroiled in the worst type of branding scenario. This scenario included Whiting taking a long enduring local term of endearment across the Mid-Atlantic region: “Hon” and trademarked the term. What was to follow would galvanize a community backlash against the restaurant and its owner. It became so heated that a popular reality show and its equally controversial host would emerge as apparent peacemakers in the problem. The Fox Television Network program: ‘Kitchen Nightmares’ hosted by celebrity chef Gordon Ramsey documented the history of the conflict; and in the end worked to mend the enormous rift between the parties. The Café Hon episode is a truly great example of this matter.

“Hon,” it is one of the greatest and most beloved regional endearments. Like “Sugar” in the South or “Sweetie” in the West, it has been synonymous with what identifies genuine affection towards others. In a series of coincidences (some unrelated events, and others being actions strongly interrelated), the perceived state of the intention(s) of Ms. Whiting in her interactions in the greater Baltimore community. Her registering the term as a Federal trademark took on a life of its own.

The owner had issues in her restaurant that affected the entire scope of her enterprise. Where the issue of “Hon” called attention adversely to the restaurant and its brand. Anger in itself was raging, but when the quality of the food (the main product) was truly abysmal. The failure to provide a highly desirable dining experience that at least countered the bad publicity of the community backlash controversy exacerbated the other overwhelming issues. On top of this combination of problems, the stubbornness of Ms. Whiting to recognize her three-fold problem made the matter a runaway train waiting to derail.

In the end through a series of revelations the problems of the restaurant were pointed out and addressed by Ramsey. The food and menu was retooled. The issues of morale and treatment of the establishment’s staff were righted. And in a stern exposition of truths, Denise Whiting had to bare her soul and contrition to the people of Baltimore. Using a popular morning radio program, Whiting renounced her trademark and apologize to the greater populous of the region.

The greater conclusions of the scenario in its broader terms are that you cannot always place every business or branding situation in strictly monetary terms. In those terms, sometimes-greater community good are as important as having access to merely monetary gains. Moreover, the monetary gains are conversely a result of having goodwill.

Reference 
 Gorelick, R. (2012, March 02). Denise whiting speaks: What you didn't know about 'kitchen nightmares'.The Baltimore Sun. Retrieved from http://www.baltimoresun.com/entertainment/dining/baltimore-diner-blog/bal-denise-whiting-speaks-nightmares-20120302,0,772658.story?obref=obnetwork 

Kay, D. (Producer) (2012). Kitchen nightmare cafe hon episode 4/15 [VHS]. Available from http://www.fox.com/kitchennightmares/full-episodes/10945394/caf-hon

New twist on a age old problem...

A new wrinkle has been introduced in the game of artist management. The long and public battles of certain artists to maintain personal sobriety has been seemingly tainted by the instantaneous nature of the 24-hour news cycle. Radar Online, TMZ, and the Daily Beast have taken a place in mainstream media. The public lust for information, no matter how seemingly tawdry has become bottomless. So can management still do just that, manage?

Certainly there is news value in the lives of artists. The difference between celebrities and artists is that one group is at best “celebrated” by society. On the other hand, while artists are supposed to be at least in some way “talented.” While some of those same artists try to exploit the nature of the 24-hour news cycle, the majority of artist (and the managers) is trying to maintain reasonable relationship in the media with regards to their client’s image and behavior.

There’s been decades since the early 1970s when music was immersed in the depths of its relationship with lethal narcotics. The grim reaper’s grip hasn’t been so pervasive in the music industry in eons. The deaths of Whitney Houston, Vesta Williams, and Amy Winehouse followed the death of music icon Michael Jackson have refocused the topic of management responsibility and for lack of a better of correlating term: culpability of paid representatives in the life of their clients?

Before Michael Jackson’s body had the opportunity to be transported to the hospital for possible attempted resuscitation, the infamous photo of his possibly lifeless body was being peddled to the highest bidder within the famed 30-mile zone. Certainly the recent death of Houston and the whirlwind of speculation surrounding the artist’s death is no clearer example of the change. Much like the wall that once existed between the private lives of politicians and those who cover them; the wall has been torn down between “entertainment media” and the people they cover. The media’s distrust for managers and being “handled” is now the rule instead of the exception.

Interview with Atlanta based artist manager Delante “Butta” Murphy. (Murphy, 2008)

References

Murphy, D. (2008, September 01). [Web log message]. Retrieved from http://www.artistshousemusic.org/videos/delante murphy on the responsibilities of an artist manager