Youth no longer defined by age

Youth No Longer Defined by Chronological Age; Consumers Stay ‘Younger’ Longer

Thanks to Marketing Charts for this post. You can checkout the original article here.

The traditional demographic definition of “youth” is no longer applicable in today’s society, and marketers should target consumers based upon their engagement and participation in youth culture rather than on their chronological age, according to the “Golden Age of Youth” study from Viacom Brand Solutions International (VBSI).

As people worldwide delay the onset of adult responsibilities and stay emotionally and physically younger for longer, it is becoming more acceptable for older people to participate in youthful pursuits. To support this trend, marketers should routinely consider the often-overlooked 25-34 age group a part of the youth market, VBSI said.
“Contemporary youth should now be defined as ‘the absence of functional and/or emotional maturity,’ reflecting the fact that accepting traditional responsibilities such as mortgages, children and developing a strong sense of self-identity/perspective is occurring later and later in life,” the study said.

Indeed, 52% of all 25-34 year-olds agree they still have “a lot of growing up to do,” and this sentiment is highest in Asian (78%) and Latin American (66%) markets.

“Even in these financially challenging times, people are trying to stay younger for longer,” said Kevin Razvi, EVP and managing director of VBSI. “25-to-34 year-olds are continuing to consume music, gaming and the internet and are enjoying the pursuits of their younger years while benefiting from a greater level of personal and financial freedom. We therefore need to rethink what ‘youth’ actually means and how we and our partners can approach this constantly evolving group of people.”

Three Stages of Youth

Though those between 25 and 34 remain youthful, there are some important differences among them and their younger and older counterparts. The study identified three distinct stages of youth: “Discovery” (16-19 years old), “Experimentation” (20-24 years old) and “Golden” (25-34 years old), and found that the youth market has grown to include all three as the differentiation between traditional demographic groups has become blurred through lifestyle choice and spending power.

Key findings:
25-34 year-olds do not respond to the same marketing as teens and those who assume they do are seeing a “youth mirage.” Though they may look similar and access many of the same brands, only 9% of those 25-34 globally said that they would actually like to be a teenager in 2008. Agreement with this statement was lowest in developed markets: Japan (4%), Europe (5%) and the US (9%).

“Golden” Youth are happier, and more confident/secure and gravitate toward premium, understated and often luxurious brands and experiences to affirm their identity. In contrast, teenagers are highly focused on material gain and employ brands to define their identity.

25-34-year-olds are most likely to agree that they are happy or content with their personal life, and are 24% more likely than teens to agree that they “love life.”

More than 80% of the global respondents say that that the 20s should be about exploring life and having fun.

Teens feel under pressure to figure out who they are and where they are going and are 23% more likely than those 25-34 to agree that their life is more stressful. This is particularly true in Europe and in the US.

17% of the global sample who said they’d “made some major decisions in life too early” were the most unhappy and stressed group of 25-34 year olds among all the respondents.

“Traditional adult brands need to adopt a more youthful tone to avoid being seen as irrelevant,” the study said. To support this, 23% of the 25-to-34-year-old global sample feels that financial institutions are aimed at those older than they are; while youthful brands have a new market beyond the core teenage target. In the traditionally young area of technology, one-third of 25-34 year olds agree they’re really interested in new technology, and 66% say that they take the time to learn how things work to get the most out of them.Other regional differences:

Respondents age 25-34 who are married are significantly more likely to be happy (66%) vs. singles (30%).

Only 36% of Europeans and 39% of Asians 25-34 feel like they’re struggling with their current financial situation vs. 55% in Latin America and 51% in America.

71% of 25-34-year-olds agree they feel comfortable with who they are. Those who feel most settled with their identity live in Mexico (84%), India (83%) and Saudi Arabia (82%). Those who are least comfortable are the Japanese (26%).

35% of Europeans would find it strange if someone got married in their early 20s vs. only 20% of Americans and 18% of Japanese.

In general, 78% are optimistic about their future. This is highest in Latin America (85%), lowest in Asia (67%) and the US (72%).

62% of Latin Americans felt they made life decisions too early vs. only 24% Japanese, 37% of Europeans and 50% of Americans.

The study also found that from a global perspective, 25 is the “ideal” age overall. Additional findings and regional differences:

27 is the ideal age to buy a house (25 in the UK, 33 in Japan).
22 is the ideal age to buy a car (20 in the US and UK, and 29 in China).
26 is the ideal age for love (25 in Saudi Arabia and 28 in Mexico).
23 is the ideal age to get a credit card (20 in the US)
19 is the ideal age to travel without parents (25 in Saudi Arabia).
27 is the ideal age to be a parent.
20 is the ideal age to lose your virginity (no differences by region).
22 is the ideal age to move out on your own.
26 is the ideal age to start saving for retirement (23 in US and 25 in Europe and Latin America)

About the survey: VBSI used both qualitative and quantitative methodologies to survey more than 25,000 respondents between age 16-46 in 18 countries. These included Argentina, Australia, Brazil, China, Denmark, Germany, Holland, Italy, India, Japan, Mexico, New Zealand, Poland, Spain, Saudi Arabia, Sweden, UK and the US. The survey was carried out between January and August 2008.

Musical roads - the new media space?

When we run out of space for billboards on our roads' sides, we'll embed jingles into the pavement.

For those of you wondering, Honda tried to turn this into a promotion in Lancaster Ca by producing the William Tell Overture, only for it to be covered over a few days later to residents complaining it 'drove' them mad. Perhaps it was the choice of tune - maybe "Drive my car" would have been a more fitting song?

Read more about Honda's efforts here and here thanks to Wired. Or learn where it all began below:

Road as Medium

"A Japanese engineer by the name of Shizuo Shinoda was the first to come up with the brilliant idea of transforming roads into a playback medium. The system works by cutting thousands of little grooves in the asphalt that produce a sound when a vehicle drives over them. The grooves are a few millimeters deep and 6 to 12 millimeters wide, and the closer you bring them together the higher the pitch will be when driven over. Production cost is about $20 000. Mr Shinoda got the idea by driving his car over markings a bulldozer had previously scraped off a street and realized he was generating a series a tones."

Check out the Youtube demonstration below:



Thanks to FutureLab. The original post can be found here.

Mobile Photosharing

Below is a great list of sites that make it easy for you to download the pics you snap on your mobile to social networking sites etc. Thanks again to NGT.

Zooming in on Mobile Photo-Sharing

BY CHUL

Cameras have become a standard feature on phones. Many young people don’t even carry cameras anymore, but snap shot and low-res shot on their handsets. A bit grainy and blurred? Who cares! They will take convenience over quality any day. And it’s not about content anyway, it’s about socialization.But soon they won’t have to make any sacrifices. As mobile evolves, cameraphones will soon sport 5, even 8, megapixels as the norm. This will only bolster the lifecasting trend–recording and sharing moments via photos and videos. They will increasingly want to share photos and hear comments from others wherever they go. This opens the market wide open mobile photo-sharing platforms, which become yet another tool to connect them with their friends. Here are a few players in the space that caught our eye:

www.shozu.com

A free downloadable application. Once downloaded to your mobile, you can easily upload your photos and videos to over 30 online social network, blog and photo sites. It supports a variety of phones and has features like geo-tagging and friend’s feed.

www.mobypicture.com

Easy way to send your photos on mobile to Twitter, Jaiku, Wordpress, Tumblr, Blogger and Flickr via MMS or email. Your friends will receive your post notification when you upload photos. Only cost for sending MMS by your carrier.

www.treemo.com

Create your customized mobile wap page and manage your photos, video and audio. It’s only for treemo’s online and mobile channels. Subscribe to your friend’s channel and check your friend’s photos in your mobile page.

www.cellblock.com

Create your Cellblock though the website and upload/share photos to other SNS or blogs. You can also access Cellblock on your mobile to view and publish photos.

http://phozi.com

Turn your cameraphone into a Japanese photo booth and add graphics and drawings on the top of your photo. Rate other people’s photos and chat with them on website. Fun, but it’s too bad you can’t send photos from your mobile to other channels.

http://radar.net/blog/

Real-time sharing of mobile pictures and videos with your friends. Key features: the Radar Player lets you share photos from your phone to your webpage or social network; the Radar Notifier lets you know when your friends post and comment.

Something to keep in mind...

Cheers to IntoMobile for this post:http://www.intomobile.com/2008/09/10/touchscreens-getting-big-for-asian-market.html

Touchscreens getting big for Asian market

ABI Research’s latest report took a look at the growing popularity of touchscreen devices and what their future is looking like. Since 2006, shipments have nearly doubled, and forecasts are claiming a $5 billion market in 2009. As promising as that sounds, the increasing adoption differs widely according to geography. For example, Samsung and Motorola are rocking roughly a third of the touchscreen market each because they’ve effectively targeted Asia, which is ready to adopt something with easy character recognition. On the other side of the coin, BlackBerry’s had a rough time in Japan exactly because input is considerably trickier on a QWERTY device. The iPhone is obviously doing its fair share to improve the popularity of touchscreens and intuitive user interface is a big factor for shoppers, it’s still considered a niche compared to the big boys. I’m curious to see if the recently-scoped BlackBerry 9500 will suffer the same fate, or if it will have better luck with the mainstream…

Using QR codes to check food safety in store

Ever wonder how where your Dairy Farmers milk really comes from? In Japan, QR codes affixed to produce allow the curious shopper to check everything from a fruit or vegetable’s farm of origin to the soil composition it was grown in. Thanks to NGT and psfk for this post.

Homegrown Evolution points us to an interesting adaptation of QR bar codes in Japan. Bar codes are being affixed to produce that give a detailed history of the item’s origin. When scanned with a QR enabled cell phone, the code will tell the story of the fruits and veggies - where they came from, and how they were grown.

Wireless Watch Japan reports:

“Prefectural authorities and the JA Ibaraki Prefecture Central Union of Agricultural Cooperative cooperating with other farming and agricultural associations are adding QR code labels right at the point of origin. In the supermarket, consumers use camera equipped cell phones to scan the QR code on the label. The code links to a mobile website detailing origin, soil composition, organic fertilizer content percentage (as opposed to chemical), use of pesticides and herbicides and even the name of the farm it was grown on. Consumers can also access the same information over the Ibaraki Agricultural Produce Net website by inputting a numbered code on each label.”

Sharing stuff via mobile phone and I don't just mean blue tooth

Sharemo: How Japanese people share used stuff using their cell phones

Thanks again to TechCrunch.
Swapping sites are nothing new (see Dig N’ Swap), but in Japan we like to trade our junk via our mobile phones. That is what the Japanese social sharing service Sharemo is all about. The site’s ambitious idea is to contribute to overcoming Japan’s throwaway society.
This is how it works: Users can offer any item they don’t need anymore (DVDs, comics and clothes are especially popular) on Sharemo. If the item is useful to another member, it can be rented, used and then relisted. This procedure is repeated until one Sharemo user decides to keep the item. The system keeps track of all actions and allocates points to active members, which can be donated or redeemed to rent items.

Sharemo’s crucial point is the complete absence of money and the reliance on trust among the members. In Japan at least, the concept pans out as expected: Although the mobile site isn’’t actively being promoted yet, Sharemo it already racks up 400,000 page views monthly.

Sharemo is operated by Enigmo, a company setting itself apart from other Japanese web companies by an international mindset. Their promotion networks rollmio and pressblog are successful outside Japan already, and Sharemo is set to follow suit in the mobile space. Will this concept work outside of Japan?

Japan, Seeking Trim Waists, Measures Millions

Every Australian living within the healthy weight range by 2010? Japan is certainly taking their health seriously... check this out thanks to The New York Times:

By NORIMITSU ONISHIPublished: June 13, 2008

AMAGASAKI, Japan — Japan, a country not known for its overweight people, has undertaken one of the most ambitious campaigns ever by a nation to slim down its citizenry.
Summoned by the city of Amagasaki one recent morning, Minoru Nogiri, 45, a flower shop owner, found himself lining up to have his waistline measured. With no visible paunch, he seemed to run little risk of being classified as overweight, or metabo, the preferred word in Japan these days.

But because the new state-prescribed limit for male waistlines is a strict 33.5 inches, he had anxiously measured himself at home a couple of days earlier. “I’m on the border,” he said.

Under a national law that came into effect two months ago, companies and local governments must now measure the waistlines of Japanese people between the ages of 40 and 74 as part of their annual checkups. That represents more than 56 million waistlines, or about 44 percent of the entire population.

Those exceeding government limits — 33.5 inches for men and 35.4 inches for women, which are identical to thresholds established in 2005 for Japan by the International Diabetes Federation as an easy guideline for identifying health risks — and having a weight-related ailment will be given dieting guidance if after three months they do not lose weight. If necessary, those people will be steered toward further re-education after six more months.

To reach its goals of shrinking the overweight population by 10 percent over the next four years and 25 percent over the next seven years, the government will impose financial penalties on companies and local governments that fail to meet specific targets. The country’s Ministry of Health argues that the campaign will keep the spread of diseases like diabetes and strokes in check.

For the full article visit:
http://www.nytimes.com/2008/06/13/world/asia/13fat.html?ex=1214280000&en=d468ccbc1f23d207&ei=5070&emc=eta1

Thumbs Race as Japan’s Best Sellers Go Cellular

TOKYO — Until recently, cellphone novels — composed on phone keypads by young women wielding dexterous thumbs and read by fans on their tiny screens — had been dismissed in Japan as a subgenre unworthy of the country that gave the world its first novel, “The Tale of Genji,” a millennium ago. Then last month, the year-end best-seller tally showed that cellphone novels, republished in book form, have not only infiltrated the mainstream but have come to dominate it.

Of last year’s 10 best-selling novels, five were originally cellphone novels, mostly love stories written in the short sentences characteristic of text messaging but containing little of the plotting or character development found in traditional novels. What is more, the top three spots were occupied by first-time cellphone novelists, touching off debates in the news media and blogosphere.

“Will cellphone novels kill ‘the author’?” a famous literary journal, Bungaku-kai, asked on the cover of its January issue. Fans praised the novels as a new literary genre created and consumed by a generation whose reading habits had consisted mostly of manga, or comic books. Critics said the dominance of cellphone novels, with their poor literary quality, would hasten the decline of Japanese literature.

Whatever their literary talents, cellphone novelists are racking up the kind of sales that most more experienced, traditional novelists can only dream of.

One such star, a 21-year-old woman named Rin, wrote “If You” over a six-month stretch during her senior year in high school. While commuting to her part-time job or whenever she found a free moment, she tapped out passages on her cellphone and uploaded them on a popular Web site for would-be authors.

After cellphone readers voted her novel No. 1 in one ranking, her story of the tragic love between two childhood friends was turned into a 142-page hardcover book last year. It sold 400,000 copies and became the No. 5 best-selling novel of 2007, according to a closely watched list by Tohan, a major book distributor.

“My mother didn’t even know that I was writing a novel,” said Rin, who, like many cellphone novelists, goes by only one name. “So at first when I told her, well, I’m coming out with a novel, she was like, what? She didn’t believe it until it came out and appeared in bookstores.”

The cellphone novel was born in 2000 after a home-page-making Web site, Maho no i-rando, realized that many users were writing novels on their blogs; it tinkered with its software to allow users to upload works in progress and readers to comment, creating the serialized cellphone novel. But the number of users uploading novels began booming only two to three years ago, and the number of novels listed on the site reached one million last month, according to Maho no i-rando.

The boom appeared to have been fueled by a development having nothing to do with culture or novels but by cellphone companies’ decision to offer unlimited transmission of packet data, like text-messaging, as part of flat monthly rates. The largest provider, Docomo, began offering this service in mid-2004.

“Their cellphone bills were easily reaching $1,000, so many people experienced what they called ‘packet death,’ and you wouldn’t hear from them for a while,” said Shigeru Matsushima, an editor who oversees the book uploading site at Starts Publishing, a leader in republishing cellphone novels.

The affordability of cellphones coincided with the coming of age of a generation of Japanese for whom cellphones, more than personal computers, had been an integral part of their lives since junior high school. So they read the novels on their cellphones, even though the same Web sites were also accessible by computer. They punched out text messages with their thumbs with blinding speed, and used expressions and emoticons, like smilies and musical notes, whose nuances were lost on anyone over the age of 25.

“It’s not that they had a desire to write and that the cellphone happened to be there,” said Chiaki Ishihara, an expert in Japanese literature at Waseda University who has studied cellphone novels. “Instead, in the course of exchanging e-mail, this tool called the cellphone instilled in them a desire to write.”

Indeed, many cellphone novelists had never written fiction before, and many of their readers had never read novels before, according to publishers.

The writers are not paid for their work online, no many how many millions of times it is viewed. The payoff, if any, comes when the novels are reproduced and sold as traditional books. Readers have free access to the Web sites that carry the novels, or pay at most $1 to $2 a month, but the sites make most of their money from advertising.

Critics say the novels owe a lot to a genre devoured by the young: comic books. In cellphone novels, characters tend to be undeveloped and descriptions thin, while paragraphs are often fragments and consist of dialogue.

“Traditionally, Japanese would depict a scene emotionally, like ‘The train came out of the long tunnel into the snow country,’ ” Mika Naito, a novelist, said, referring to the famous opening sentence of Yasunari Kawabata’s “Snow Country.”

“In cellphone novels, you don’t need that,” said Ms. Naito, 36, who recently began writing cellphone novels at the urging of her publisher. “If you limit it to a certain place, readers won’t be able to feel a sense of familiarity.”

Written in the first person, many cellphone novels read like diaries. Almost all the authors are young women delving into affairs of the heart, spiritual descendants, perhaps, of Shikibu Murasaki, the 11th-century royal lady-in-waiting who wrote “The Tale of Genji.”

“Love Sky,” a debut novel by a young woman named Mika, was read by 20 million people on cellphones or on computers, according to Maho no i-rando, where it was first uploaded. A tear-jerker featuring adolescent sex, rape, pregnancy and a fatal disease — the genre’s sine qua non — the novel nevertheless captured the young generation’s attitude, its verbal tics and the cellphone’s omnipresence. Republished in book form, it became the No. 1 selling novel last year and was made into a movie.

Given the cellphone novels’ domination of the mainstream, critics no longer dismiss them, though some say they should be classified with comic books or popular music.

Rin said ordinary novels left members of her generation cold.

“They don’t read works by professional writers because their sentences are too difficult to understand, their expressions are intentionally wordy, and the stories are not familiar to them,” she said. “On other hand, I understand how older Japanese don’t want to recognize these as novels. The paragraphs and the sentences are too simple, the stories are too predictable. But I’d like cellphone novels to be recognized as a genre.”

As the genre’s popularity leads more people to write cellphone novels, though, an existential question has arisen: can a work be called a cellphone novel if it is not composed on a cellphone, but on a computer or, inconceivably, in longhand?

“When a work is written on a computer, the nuance of the number of lines is different, and the rhythm is different from writing on a cellphone,” said Keiko Kanematsu, an editor at Goma Books, a publisher of cellphone novels. “Some hard-core fans wouldn’t consider that a cellphone novel.”

Still, others say the genre is not defined by the writing tool.

Ms. Naito, the novelist, says she writes on a computer and sends the text to her phone, with which she rearranges her work. Unlike the first-time cellphone novelists in their teens or early 20s, she says she is more comfortable writing on a computer.

But at least one member of the cellphone generation has made the switch to computers. A year ago, one of Starts Publishing’s young stars, Chaco, gave up her phone even though she could compose much faster with it by tapping with her thumb.

“Because of writing on the cellphone, her nail had cut into the flesh and became bloodied,” said Mr. Matsushima of Starts.

“Since she’s switched to a computer,” he added, “her vocabulary’s gotten richer and her sentences have also grown longer.”

Related links:

Book Uploading Site of Starts Publishing

Orion, a Cell Phone Novel Site for Goma Books

The Novel, "If You"

Mika’s blog