The shift to music streaming has led to songs getting shorter, music getting less melodically diverse and lyrics getting more repetitive. Or to put it another way, just as our visual culture has become more homogeneous, so too has the music that accompanies it. Let’s run through these arguments one by one.

In the early 1990s, two Russian artists named Vitaly Komar and Alexander Melamid hired a market research firm to survey the public on what they wanted in a work of art. Across 11 countries they then set about painting a piece that reflected the results. Each piece was intended to be a unique a collaboration with the people of a different country and culture. But it didn’t quite go to plan. Every picture looked the same. 30 years after the “People’s Choice” series, it seems the landscapes which Komar and Melamid painted have become the landscapes in which we live. From film to fashion and architecture to advertising, creative fields have become dominated and defined by convention and cliché. Distinctiveness has died. In every field we look at, we find that everything looks the same. Welcome to the age of average. Let’s dive in.

A storm is coming. In 2020 Britain suffered its deepest recession in over 300 years. Two years later and the UK’s economic picture is not much prettier. This article argues that whilst recessions are a threat to some businesses, they are an opportunity for others. It argues that brands can not only survive a downturn but thrive in one. It explores five principles that will help your brand be one that finds strength in the slowdown. The principles will help you increase your dominance during a downturn. They will help you be one of the 9% of companies who come out of the recession stronger than you went in.

To make a big impact, we need a big idea. In brand communications, coveting the ‘big idea’ is commonplace. We look for them. Long for them. Laud them and lionise them. And yet, despite its ubiquitous use, the ‘big idea’ remains incredibly ill-defined. This article is an attempt to change that. It argues that ‘big ideas’ are ‘big’ because they spread in three directions. They go long, spreading across campaigns. They go wide, spreading across channels. And they go far, spreading across countries.