Viral, buzz, memes, stickiness, and form factor became the lingua franca of branding. They hired creative agencies and armies of technologists to insert brands throughout the digital universe. A decade ago most companies were heralding the arrival of a new golden age of branding. This is not how things were supposed to turn out. In the era of Facebook and YouTube, brand building has become a vexing challenge. But firms can’t identify the critical opportunities by relying on traditional segmentation and trend reports. Dove championed the other side of the divide, with campaigns that spoke to crowdculture concerns about unhealthy beauty standards for women.īrands succeed when they break through in culture, and crowdcultures are a great vehicle for doing that. Axe revived its brand by becoming an over-the-top cheerleader for the “lad” crowd that arose as a response to politically correct gender politics. Other good examples come from personal care. Chipotle did this successfully when it made two short films critiquing industrial food, tapping into a movement that began in the organic-farming subculture and blew up into a mainstream concern on social media. In it, a brand sets itself apart by promoting a new ideology that springs from the crowd. While they diminish the impact of branded content, crowdcultures grease the wheels for an alternative approach, cultural branding. Consider that people making videos in their living rooms top the charts on YouTube, which few companies have managed to crack. Their members produce their own content-so well that companies simply can’t compete. Crowdcultures are very prolific cultural innovators.
It has united once-isolated communities into influential crowdcultures. What happened? The issue is, social media has transformed how culture works, in a way that weakens certain branding techniques. In fact, social media seems to have made brands less significant. Hoping to attract huge audiences to their brands, they spent billions producing their own creative content. Marketers originally thought that Facebook, YouTube, and Twitter would let them bypass mainstream media and connect directly with customers. The numbers continued to go up, until in May 2016, “Tennessee Whiskey” was marked platinum by the RIAA.ĭespite being propelled to stardom by Stapleton, “Tennessee Whiskey” was written by Dean Dillon and Linda Hargrove at 4 AM in Nashville and was first recorded by David Alan Coe.Social media was supposed to usher in a golden age of branding. Stapleton won three CMA trophies and the song sold 131,000 downloads the following week. Stapleton performed “Tennessee Whiskey” with Justin Timberlake at the 2015 CMA which proved to be a life-changing night for Stapleton and “Tennessee Whiskey” as both became an overnight sensation. 2 on the US Billboard Hot Country Singles.īut it was singer-songwriter Chris Stapleton’s R&B-influenced version of “Tennessee Whiskey” that pushed the song to reach No. Another country music artist, George Jones, then covered the song, and his version reached No. 77 on the Billboard’s Hot Country Songs Chart. David Alan Coe was the country music artist who originally recorded “Tennessee Whiskey.” He made the song the title track of his 1981 album of the same name Tennessee Whiskey.Ĭoe’s version managed to reach No. When it was finished, the song was first pitched to George Strait, but he turned it down. They met together in Nashville at a cafe called Bluebird and then went on to write the song at Hargrove’s house. The song was originally written by Dean Dillon and Linda Hargrove back in 1981. But who wrote “Tennessee Whiskey” and who sang it first?
Stapleton and Justin Timberlake’s medley of the song at the 2015 Country Music awards drove it to greater popularity. “Tennessee Whiskey” has Chris Stapleton to thank for its No.
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