When was the last time you reread the classics? Catcher in the Rye, maybe, or The Great Gatsby? Frankenstein or War and Peace? Whiz up and down through the centuries and you can add almost anything by Shakespeare, Faulkner, Twain, Bronte, Hemingway, and so many more to the list of books you ought to read—or reread.
But who’s got time? Especially when your night table’s sagging under the growing stack of books and magazines you keep dumping on it.
Especially when you’re buried under all the blogs and emails and articles and videos that people send you.
Especially when you’re committed to building your social media presence and need to read through Facebook and LinkedIn and Twitter and Google+ and Instagram, not to mention Tumblr and Reddit.
Especially when you’ve already read those books in high school or college and were bored to tears. Why would you read them again?
With all due respect to the younger readers among us, when was the last time you took a reading recommendation from a 17-year old? Because if you’re deciding what to read today based on your high school memories, that’s what you’re doing.
So what’s the point in rereading these musty tomes? Besides the simple pleasure of enjoying the words of great writers and enjoying their stories, there’s so much to learn. One of the reasons these books have stood the test of time is because of the universality of their subjects. That is, the situations that authors were dealing with generations and centuries ago can be just as relevant today as they were back then.
Remember, too, that despite the way we pinball through the millennia sourcing content, all history did not happen at once. So even though we might think these noted authors were contemporaneous originators and it’s just us who are standing on the shoulders of giants, what a little research uncovers is that they too were repeating the tropes and themes that had been written and developed by earlier authors.
Gary Schmidgall – who has written extensively on both William Shakespeare and Oscar Wilde – points out that the supernatural picture, the main literary device of Wilde’s The Picture of Dorian Gray, was not original to that author. Instead it was “astonishingly ubiquitous (in) Gogol’s The Portrait, Hawthorne’s Prophetic Picture and Edward Randolph’s Portrait, Disraeli’s Vivian Grey, Henry James’s Story of a Masterpiece, and Maturin’s Melmoth the Wanderer.” Plus “…dozens of other haunted pictures (can) be found in long-forgotten novels” written years before Wilde’s masterpiece.
What Wilde’s book and so many others tell us is that we all look at the human condition with the same eyes and we often see the same things. It’s not a matter of copying or plagiarizing what has come before; rather it’s a matter of interpreting current events and activities in a way that is relevant for our readers, our clients, and our audiences.
Back in the not-so-distant dark days of Web 1.0, I belonged to a group of entrepreneurs, engineers, and marketing types called The Internet Users Group. We would meet once every couple of months in San Francisco and talk about how the new Internet technology was developing and how we could use it. Most of the group was made up of young tech types buzzing on giant cups of Peet’s Coffee. Only one member of the group, a bearded historian from Stanford University, was older.
At each meeting the jittery techies would argue over their visions and the historian would quietly scribble in a little steno pad. But during one heated conversation, he spoke up and disagreed with the most strident speaker.
“Why should we listen to you?” the techie snapped. “You don’t know anything about the Internet, you just know some creaky old history.”
“You’re right,” the historian answered. “I don’t know very much about the Internet. But I do know what you don’t – I know what’s going to happen. You see, the technology we’re studying has never been seen before. But the people who are involved are the same as the people who caused the Dutch tulipmania in the 17th Century and the Great Depression in the early 20th Century. Thanks to history I can chart exactly how the Internet will boom and bust and then grow again. I might not know exactly where or exactly when it’ll happen, but I know exactly what will happen.”
And wouldn’t you know it – everything the historian predicted that foggy afternoon came true. Maybe not exactly the way he said it would but pretty damn close. And while I didn’t become a tech gazillionaire when the tech bubble inflated, I also didn’t lose everything I owned when the tech bubble burst.
THAT’s the power of history: providing us with an understanding that while the tools may change, the rules never do. And the power of the classics is that they provide brilliant, enjoyable commentary on the human condition that you can count on time after time after time.
People are constantly asking ‘what is a brand?’ and ‘how a brand is defined’. Most business people and consumers are savvy enough to understand that a brand is not a logo or a trademark, it’s not an ad and it’s not a sign, website or brochure. Instead many people define a brand as every communications touch point and interaction that a consumer has with a company. But where the former list is too restrictive, the later description might be a bit too all encompassing.
Yes, a brand can be seen as every interaction between a customer and a company but that makes it a little hard to quantify and identify, and certainly hard to manage and manipulate.
I’ve also heard a brand described as “what people say about you behind your back.” While I think this is true, after spending a long, intense, and very enjoyable weekend working with the remarkable attendees of our branding seminar it dawned on me that this definition puts all of the brand responsibility in the consumers’ corner and doesn’t leave much room for the company or individual to improve their lot.
An active and interactive weekend of sharing branding tips and techniques with an inquisitive audience got me to consider new ways of defining a brand and monetizing its value.
The more I think about it, the more I realize that a brand is a shortcut to understanding. Like the car buyer who kicks the tires or slams the doors to determine if the auto they are interested in is solid, a brand becomes the shorthand explanation and validation of what a product or service is going to do for the consumer.
That’s why so many people thought that a brand was a logo. After all, the logo serves as the physical manifestation of the brand. And indeed, Louis Vuitton’s “LV,” or Hermes’ “H” tells the consumer and the world what to expect from the product. In the most powerful examples the subliminal message isn’t about the function or utility of the product at all but about the more abstract attributes that the brand provides, such as bestowing status.
In the last few weeks and months our branding agency has seen the direct benefits of this brand power. Thanks to almost weekly appearances with Melissa Francis on FOX Business, the strength of this blog’s distribution (18,000 subscribers and many more thousand “organic” online readers), a cover story in Speaker Magazine, and more, our new business activities have soared, as has our closing ratio on new business. My agent, Katrina Smith, calls this newly acquired brand power “social proof” and I think that makes a lot of sense because it explains how high-quality brand exposure becomes the verification and validation buyers are looking for before they take the risk of a purchase decision.
Thanks to computerization, globalization, enhanced logistics, and multiple sales channels, we live in a world where most products are very good (or at least good enough) and they’re all almost instantly available. All new cars provide more than adequate transportation. All flat screen TVs have great pictures and sound. All new watches keep accurate time. All cruise lines offer food, lodging, and exotic destinations. What sets different products apart and makes them more or less valuable is not the function of the product itself but how well the brand resonates with the consumer and the potential consumer. And the quality of the brand is both transmitted and confirmed through social proof.
A great product or service is not a brand; it’s cost of entry. Which means the moment to start working on your brand and generating social proof is the same as the best time to plant an oak tree in your yard — either twenty years ago or today.
I don’t usually use this space to rant. I try to be thoughtful, even-tempered, and even a bit circumspect in what I write about here. But today I’m typing this post with my teeth firmly clenched together and my fingers smacking the keyboard.
A few months ago I spoke to an industry group about how they should build their brands for success. I laid out the simple rules — our Seven Steps to Building Brand Value —and exactly how they should determine their customer-based advantages to market themselves most effectively — specifically how to make their message All About Them.
During the Q&A and the rest of the time I spent at the conference, I listened as person after person showed me their business cards, websites, brochures and so on. Of course they weren’t done the way I had suggested since they had just heard me speak. But when they told me how much money they paid “professionals” to produce such misguided work, it made my blood boil. Especially when they explained how their sales had not kept pace with the expanded business they had been promised.
If they had been given good advice they might have created powerful brands that would have moved their sales meter. But because they were given such poor advice, they not only spent too much money, but they paid the opportunity cost of not making sales and earning profits.
I felt like that madman in the movie Network (1976) who stuck his head out of the window and screamed, “I’m mad as hell and I’m not going to take this anymore.”
That’s where our Elite Branding Intensive idea came from – a hands-on program where we could show entrepreneurs, small business people, and marketing folks in large companies exactly how to build their brands. We figured it would be an especially good deal for people and companies who need help with their brands but can’t afford our agency fees.
Coincidentally, while we were planning our Elite Branding Intensive, I made a presentation to a client committee that’s deciding how to market their own big opportunity. After reviewing the goals and the research results with the committee, I showed the first campaign we had created for them. Everyone loved it. Next I presented our second suggested campaign and everyone loved that one as well.
But before too long the sidebar conversations started. The agendas came out. The insecurities chimed in. “Maybe we should add more information” they said. “Maybe we should cover all bases.” “Maybe we should combine both campaigns.”
Maybe I should go home and stick my head in the oven!! (Of course, our oven’s electric so all I’d do is singe my hair). But remember, I’m mad as hell and I’m not going to take this anymore.
At that moment it dawned on me that if more people attended our Elite Branding Intensive and understood the simple but profound concept of “All About Them,” more people would understand exactly how to build a brand and build their business.
So if we need more people to attend, why not make it even easier (read “less expensive”) for more people to attend?
Because we want to give everyone hands-on assistance, we’ve already planned very limited seating. And since we’re not going to increase the number of seats in the room, this offer will lower our profits. In fact, I might actually remove a few chairs to make sure everyone gets the attention they need.
So here’s the deal: If you want to join us AND you want to save some money, bring a friend or partner at no extra charge. That’s right. You can bring a second person absolutely free.
Split the tuition with them, let them come for free, charge them more and lower your cost — however you handle it is entirely up to you. I just want more people to attend and learn exactly how to build their brands.
Your guest will still get all their meals, all their materials, all their training, and all their surprises. The only thing I ask is that you share your hotel room because we’ve included that in the price too.
This is BY FAR the lowest price for our program. But of course the REAL deal is on the benefits to your business that will come from properly constructing your brand.
And maybe for me in not being so annoyed anymore.
To get all the details, click HERE. But hurry before I calm down and change my mind!
Last month I presented the keynote speech on building brands at the NSA Annual Convention in Philadelphia. Before you glance over your shoulder or check if your phone is tapped, this NSA stands for the National Speakers Association NOT the National Security Agency. Or as someone at the conference pointed out, “We’re the ones who talk, not the ones who listen.”
Something I noticed was that when you meet people there, the first thing they ask you is “what do you speak on?” Not who are you, what do you care about, or what’s important to you, but what do you speak on. So when I did my concurrent workshop after the keynote, I asked everyone to raise their right hands and solemnly swear never to ask that question again. Because what they were doing was exactly opposite of my assertion and recommendation that successful brands don’t sell the function of what they do but the results they achieve for their clients.
If speakers are only selling what they speak on, then they each compete with one another for a limited number of speaking opportunities — just like any run-of-the-mill product. Selling what they speak on suggests that speaking is a generic activity and any one of them would be equally suited to fill the 55 minutes that a meeting planner has open on the agenda. By leading with their subject, speakers suggest that their specific advantage is that subject – that is, whether they speak on diversity, leadership, motivation, woman’s empowerment issues, technology or whatever — that’s what matters.
But as we’ve discussed so many times before in this blog, the real opportunity — and the real profits — comes not from selling generic functions but the individual talents and advantages that each speaker can bring to the platform to solve their audiences problems.
It’s the same with most other products these days. Because all new cars sold are equally proficient at getting us from Point A to Point B, you never see an auto company advertising the functional benefits of their products. Instead, they sell the brand. Mercedes sells quality. Volvo sells safety. BMW sells performance. Audi sells design. Kia sells affordable style. Toyota sells dependability. Ferrari sells picking up girls at nightclubs.
The big problem occurs when businesses large and small try to reduce their core brand to simple attributes like the ones above. Egos, expanded product offerings, insecurity, and indecision all get in the way and make the practice nearly impossible. And so most of the people and products that brand themselves do so with complicated, hard-to-digest, and even harder to remember messages.
Feeling this first hand at NSA was almost painful. I had spent my time on stage and in the workshop showing people exactly how to position themselves and so many people stopped me in the hallway to ask for help and or show me their admittedly confusing brand images. Ouch.
Former White House Chief of Staff Rahm Emanuel said, “You never want a serious crisis to go to waste,” but I’m sure the same can be said for opportunities.
Our advertising agency is committed to helping our clients build powerful and profitable brands. Witness the work we’ve done for Miami, Kissimmee, MetCare, Discovery Networks, and so many more. And part of the way we’ve been successful is by showing our clients how to build their own compelling brands and how to exploit those brands to exceed their marketing goals.
Our mission is to build our business by helping people build their own brands. And so we are hosting our first ever branding master class. You are invited to Miami where I’m going to show you exactly how to craft a successful brand. We’re putting the event smack-dab in the middle of our buzzing advertising agency where you’ll learn exactly what you need to know to profit from a powerful brand. No fluff, no gimmicks, no hogwash. Just proven techniques that the best companies hire us for.
If you’re interested, click HERE for more information and pricing. The program includes everything you need to create and build your brand, including all materials, meals, special guests, and lodging, and is priced at a fraction of what we charge to build brands for our corporate clients.
But act quickly. I want everyone to get hands-on attention so I’ve limited attendance and have already signed up a number of NSA members. Because we’re sticking to that limited attendance, we’re offering seats on a first-come, first-served basis. In other words, when they’re gone, they’re gone.
To find out more, click HERE. If you’d rather talk to a real live person, please call Toma Rusk at (831) 402-5574. And learn how to put your brand to work for you.
It’s not reach, it’s not renown, and it’s certainly not status. But all three do reach a particular audience, all three have been prolific, and all three have some hits and some misses. Plus there’s something else.
Somewhere in the middle of his career, Picasso ran out of things to paint. Worse, he also lost the inspiration to create something new. Needless to say, Picasso’s agent was climbing the walls, wondering when his prized client was going to start working and provide his gallery with art to sell again. But no matter what the agent tried – yelling, cajoling, bribery – he couldn’t get Picasso painting.
Then one day Picasso called his agent and asked him to stop by his studio. When the agent arrived, he was stunned to see that the walls of the studio were covered with bright, colorful paintings. Picasso was back!!
After the agent had examined all the work and probably calculated how much all of the new canvases were worth, he asked Picasso the obvious question – “What was it that made you start creating again?”
Picasso responded, “I still haven’t created anything.”
“Then who did all this work?” The agent asked.
The artist told a quick story. He was depressed about having lost his muse and was wandering aimlessly through the streets and alleyways of Paris. Suddenly he came across a gallery opening and stopped in to grab a free glass of champagne when he realized that all of the work on the walls looked like Picassos. He’d been ripped off.
“So THAT’S what did it?” asked the agent. “Seeing that someone else was doing what you do inspired you to create something new?”
“No,” answered the artist disdainfully. “I haven’t started creating again. This work looks exactly like my old work. I just figured that if that guy could copy Picasso then Picasso could copy Picasso.”
The Stones started playing around England in the early sixties and so far their discography consists of 29 studio albums, 17 live albums, 30 compilation albums, and 110 singles. But most Stones fans will agree that it was during their early years that they put out their five best recordings – Beggars Banquet, Sticky Fingers, Let It Bleed (my personal favorite), Exile On Main Street (a very close runner up) and Goats Head Soup. Yes, I know some of you would add Their Satanic Majesties Request and Some Girls to the list to which I say “pshaw”
The thing is, the last album on the list – Goats Head Soup – came out in 1973 and since then the Stones have released 61 more albums but nothing that competes with those five. To be fair, many of the 61 are best-of compilations or live recordings and a few are the band’s attempts to be relevant during disco and new wave. But since the early 80s what the Rolling Stones have really been is the world’s best Rolling Stones cover band – continuously recreating what they’d already done. What the Stones did was channel Pablo Picasso and copy themselves.
And so this blog is a lot like Pablo Picasso and The Rolling Stones in that it too has endured over a number of years (c’mon, you didn’t really think I was going to compare myself to those two icons by quality or notoriety did you?). And while it’s often chock full of new ideas and new directions, there are times when my posts are simply renewed versions of what’s come before.
When I started this blog, one thing I promised you was that I would be totally transparent and share what I was doing and what I learned. As I see it, this blog is a journey we’re taking together in harnessing new media and my goal is not just to communicate what I’m thinking about but also to share what I learn so you can benefit from the technology too.
Lately I’ve spoken to a few people who are interested in creating their own blog but are worried about the time commitment or hesitant because they don’t think they’ll be able to create new things week after week after week. And while I certainly understand and have experienced those concerns, I’ve also learned that just like the Rolling Stones and Pablo Picasso, sometimes the best ideas to copy are your own.
Some things get better with age — wines mellow and so does balsamic vinegar. Classic music, both symphonic and rock, sounds better and better each time I hear it. Jeans and khakis get more comfortable, running shoes do too. To my eye, older Porsches, BMWs, and Alfas look even better over time.
Hopefully, we human beings improve as well.
Although it’s probably true that there’s no fool like an old fool, there’s also no substitute for experience. As George W. said, “There’s an old saying in Tennessee — I know it’s in Texas, probably in Tennessee — that says, fool me once, shame on — shame on you. Fool me — you can’t get fooled again.”
When I was in art school I remember being told that advertising was a young person’s business. I never understood why that was but I assumed it was because of creativity. Young people are creative, I thought, older people less so. I was wrong, of course, because what I’ve learned after years and years in the branding business is that lots of people get more creative as they age. Art Directors Hall of Fame member Mike Tesch started his agency career in the Mad Men 1960s and nearly 50 years later still cranks out prodigious amounts of paintings, books, and creative solutions for our clients. From Mike’s example I’ve learned that life experiences provide resources to call on for creativity.
One of the great things experience teaches, albeit often the hard way, are the things that should only be done once (if at all). For example, one need only touch a steaming teakettle one time to know never to do it again.
What are some of the other things that we’ve learned to do no more than once? I was walking with a very good friend of mine one day when we saw an acquaintance of his coming the other way. As we got closer he greeted her by name and inquired, “When are you expecting?”
“Expecting what?” she asked.
I immediately turned and walked the other way, but knew full well that I had just experienced something my friend would only do once.
In his song about “pool-shooting son-of-a-gun” ‘Big’ Jim Walker, Jim Croce listed a few other things you wouldn’t do more than once. “You don’t tug on Superman’s cape, you don’t spit in the wind, you don’t pull the mask off the old Lone Ranger and you don’t mess around with Jim.”
So what else? If we’re all going to mellow like fine wine and get better with age, wouldn’t it make sense that we all learn the things we should only do once? I think this blog could be a great vehicle for crowdsourcing some ideas for this very important list.
What I’d like you to do is come up with your own suggestions of things you’ve learned you should do only once. Please click on the “COMMENTS” link at the end of this post and upload your tips for everyone to read. And if you feel like learning from other people’s mistakes, come back to the blog and check out the growing list.
In the meantime, here are a few ideas to get our list started:
When I was in high school one of my part-time jobs was working as a bagboy at the local supermarket. Even though the walls were plastered with signs that said, “Carry-out is a Publix service. No tipping please,” we bagboys stuffed our pockets with the single dollar bills the neighborhood housewives slipped us for wheeling the groceries to their cars.
I learned very quickly that there were two keys to getting good tips – being nice to my customers and making an extra effort to serve them. Besides a big smile and a happy “hello” each time I walked up to a new cash register, insisting on double-bagging, putting chicken into plastic bags to thwart leaks, and making a show of tightening the caps on Clorox bottles were all effective techniques to ensure a bigger gratuity.
This knowledge served me well a few years later when I worked as a waiter. The same two practices – smiling and being extra helpful – helped me earn the biggest tips and get regular customers. That’s why I was so surprised when a particular patron told me how unhappy she was with my service and asked me to “get the manager right away.”
I walked back to the kitchen and told the manager that the woman at table seven wanted to speak with him.
“What’s wrong?” he asked.
“I don’t know. I don’t think I did anything wrong but she’s been unhappy with everything… her food, the service. No matter what I do, she’s angry.”
We walked back to the table together and the manager introduced himself. “How can I help you?” he asked.
She immediately launched into a litany of complaints – her salad wasn’t fresh, her food wasn’t hot, her server was surly, her water glass wasn’t filled quickly enough, and so on. Finally she stopped complaining to take a breath. The manager saw his opportunity.
“I’m sorry you’ve been served so poorly and of course I’ll take care of it right away,” he purred solicitously. “But let me ask you a question. You’re not really that upset about your lunch, are you?” He paused knowingly. “What’s really wrong?”
The woman glared at him with burning malevolence and I held my breath, waiting for her to start screaming. Then all of a sudden her face dropped and her shoulders slumped – it looked like she had been deflated. “My husband left me last week,” she said quietly. “I don’t know what to do.” She burst into tears.
The manager handed over his handkerchief. Without taking his eyes off her he leaned towards me and said, “Bruce, clear off the table and go get us two cappuccinos and a big slice of cheese cake… two forks.” Then he sat down across from the sobbing woman and told her to tell him all about it.
The two of them huddled like co-conspirators through the rest of the lunch service and continued to talk long after we had cleared the restaurant. It wasn’t until we were setting up for dinner that they got up. After bidding the manager goodbye, the woman came up to me and slipped a folded piece of paper into my hand. “This is for you,” she said before she walked out.
I never found out what they talked about that afternoon but I did learn a valuable lesson. Even though the woman came into our restaurant for lunch, that wasn’t what she was buying. What she really wanted was someone to listen to her. The manager was smart and sensitive enough to know that it was his job to give his customers not what they thought they wanted but what they really wanted.
Henry Ford said, “If I had asked people what they wanted, they would have said faster horses.” A century later Steve Jobs said, “It’s not the customer’s job to know what they want.”
For us business owners and brand marketers these are very valuable insights. After all, when we continually surprise and delight our customers by fulfilling wants they might not even know they have, we demonstrate how much we care and why they should continue to do business with us.
Oh, and that piece of paper the restaurant customer slipped into my hand? It was a $100 bill.
Have you read about Carnival Cruise Line’s latest woes? Of course you saw the bloated corpse of the Costa Concordia floundering like a beached whale off the coast of Italy, you saw the 2,758 stranded cruisers on the Carnival Triumph eating onion sandwiches and using the Lido deck for a latrine, and you saw 4,300 passengers from the Carnival Dream being ferried back to Florida after that ship’s generator failed. But those are the sexy things the news media loves to splash across its pages and screens. Have you seen the numbers?
All of this bad news has eroded the company’s profits. Carnival says it expects to post a 2013 profit of $1.45 to $1.65 per share, down from its previous projection of $1.80 to $2.10.
Last Tuesday USA Today reported that Carnival Corp “…lowered its 2013 earnings forecast yesterday afternoon, acknowledging that bad publicity and reduced ticket prices have taken a toll on its bottom line. Several analysts immediately lowered the company’s stock ratings, and share prices dropped overnight.”
And a recent Harris poll of more than 2,000 U.S. travelers showed a 17% drop in their trust in Carnival Cruise Lines. Worse, the trouble isn’t just limited to Carnival’s core brand. Harris found that trust in rival lines including Royal Caribbean, Norwegian and Carnival-owned Holland America also dropped.
So what can Carnival do? Needless to say, the first thing is to stop the bleeding. To fix their problems the company has announced a full operational review and says they will spend close to $700 million to upgrade back-up systems across their entire 101-ship fleet. Cruisers, investors, and rival lines can only hope that that expenditure will stop Carnival’s continued problems. If evenly applied, that enormous expenditure only adds up to about seven million dollars per ship, not very much when you consider the cost and complexity of each vessel.
But even if almost three quarters of a billion dollars fixes the ships, Carnival’s still got a boatload of work to do before the ship hits the fan again. Here are just five of a long list of things I believe the worlds largest cruise line should do immediately to get their image — and their profits — on the road to recovery.
1. Manage Carnival’s Face Time (Part I).
The next time there’s a mishap, Carnival’s president line should immediately take a helicopter out to the stranded ship. He should stand with the captain and announce that he’s there for the duration and will be doing everything he can to see to the cruisers’ safety and comfort. His presence will help show Carnival’s passengers that he’s got skin in the game — his own.
2. Manage Carnival’s Face Time (Part II).
When the Concordia went down in Italy, Carnival chairman Mickey Arison should have been on the first flight to Civitavecchia and set up Carnival Central Command right there. After all, nothing says you care like being there.
3. Manage Carnival’s Face Time (Part III).
While the Triumph was floundering, an iPhone picture of Miami Heat owner Arison sitting court side at that evening’s game went viral. Even though we all know there’s nothing Arison could have done to improve the stranded ship’s situation, someone still should have said, “Yo Mick, why don’t you catch the game at home tonight?”
4. Enhance Connectivity.
In today’s hyper-connected world, being disconnected makes people very nervous. Carnival should install 100 Iridium satellite phones on every ship so that stranded guests could at least let their friends and family know they’re okay. A quick, “Yeah, we’re stuck but we’re fine” conversation would relieve a lot of stress and pressure.
5. Finally, Carnival should change their corporate name.
In addition to the Carnival-branded ships Carnival Cruise Lines owns ten different cruise brands, including Seabourn, Holland America, Cunard, and Princess. But each time a Carnival ship is stricken, consumers have no way of knowing whether the bad news is about a Carnival-flagged vessel or one of the other brands the parent company owns. Carnival should separate the brands so they’re not always painted with the same brush.
Sure, the entire industry will still suffer when there’s an accident. But as we’ve seen, other brands didn’t suffer the loss in consumer confidence that the Carnival-owned ships did.
My suggestion for a new corporate name for the holding company, by the way? Change Carnival to Tarison in honor and memory of Carnival’s late visionary founder Ted Arison.