DISRUPTING THE PINK AISLEAn analysis of GoldieBlox’s promotional campaign from Kickstarter to the Super Bowl

by Milena Roque Torres

Submitted to Emmett Stinson, Lecturer of Business and Professional Communications

The University of Melbourne School of Culture and Communication

June 2014

Background

In recent years, women have made more progress in the workplace and public life, and many men

have taken on a greater share of domestic chores. But when it comes to children, gender stereotypes

are rigidly enforced through increased segregation of toys, clothing and even books for boys and

girls. Toys stores now have pink aisles filled with toys specifically marketed to girls: dolls, cookery

sets and pink toys; the aisles for boys are filled with remote control cars, building kits, sports items

and science kits. In the pink aisles, too few toys teach basic science skills and if there are any, these

are repackaged in pink.

A basic tenet of early education is that children learn and develop skills and interests through

play. Many parents, psychologists and sociologists believe the increase in gender-specific toy

marketing—in catalogues, advertising, online retail and in store—limits children's choices about the

type of toys they can play with and reinforces traditional gender stereotypes, which affects what they

choose to study and the roles they play as adults (Kleinman, 2013).

Indeed, women are vastly underrepresented in science, technology, engineering and mathematics

(STEM) fields. Although women fill close to half of all jobs in the U.S. economy, they hold less than 25

percent of STEM jobs; this has been the case throughout the past decade, even as college-educated

women have increased their share of the overall workforce (Economics and Statistics

Administration, 2011).

These are the sentiments that urged San Francisco-based engineer Debbie Sterling to design a toy

and start a company called GoldieBlox to get girls interested in STEM fields. She lamented the

absence of female STEM role models in popular culture. Boys look up to characters like Bob the

Builder, Bill Nye the Science Guy and Jimmy Neutron – characters with high IQs and who invent

things. On the other hand, girls have Barbie and 11 official Disney Princesses to choose from, most of

whom are waiting for their Prince Charming. With GoldieBlox – a book series that comes with

construction kits – girls can have a STEM role model in Goldie, the main character in the book.

The toy was inspired by Lego, the world’s most popular construction toy, but GoldieBlox

incorporates building with reading. In Goldie’s stories, she encounters problems that can be solved

by building different machines. Young readers are invited to build along with Goldie, using the

construction set that comes with the book.

GoldieBlox’s mission is to get girls building. On its website, the company says that ‘by tapping into

girls' strong verbal skills, Goldie’s story and the construction set will bolster confidence in spatial

skills while giving young inventors the tools they need to build and create amazing things. ’ It

positions itself as the engineering toy for girls, a new product that aims to ‘disrupt the pink aisle’.

GoldieBlox is made for girls aged four to nine, but marketing is primarily targeted at adults who

have the buying power and who want young girls to succeed—specifically the parents, grandparents,

uncles and aunts of these young girls.

Sterling launched a petition for funding of the first mass production of GoldieBlox in 2012. After

getting funded by backers, GoldieBlox has since become a sensation, securing nationwide and

international distribution deals. The company also made history as the first small business to ever air

a commercial at the Super Bowl.

This paper will analyse the communication strategies used by GoldieBlox in its Kickstarter

petition (which officially launched the product) and in its Princess Machine ad (which opened its

doors to the Super Bowl). An analysis of the company’s crisis communications strategy – regarding a

copyright dispute with the band Beastie Boys – will also be discussed.

Promoting GoldieBlox

The Kickstarter petition

Kickstarter is a funding platform for creative projects. Every project sets a funding goal and deadline,

and if people are convinced to pledge some money, the project will start. In September 2012, Sterling

launched a petition at Kickstarter to get funding of $150,000 for the first mass production of

GoldieBlox. The said petition was accompanied by a three-minute video where Sterling spoke to

potential backers.

Persuasive techniques

What Jefferson Bates called ‘audience analysis’ is a pivotal requirement in persuasive

communication. Know your audience and you will have a much better chance of connecting with

them (Bates, 1985). In the petition video, Sterling spoke to her core audience – working professionals

and/or artists who are parents, aunts, uncles and friends of parents of young girls – as revealed in

this transcript:

‘Help me build this for your daughter, your niece, your friend’s daughter…’

Sterling framed her message in a way that taps into the reasoning and emotions of parents with

young daughters, and adults with young girls they care about. She presented her case using

Aristotle’s ingredients to persuasion, otherwise known as the three appeals or modes of proof: ethos,

logos and pathos.

Ethos, or the ethical appeal, aims to convince an audience of the speaker’s credibility or character

(“Ethos, pathos and logos”, 2013.). Sterling opened the video with a clear sense of ethos:

‘I’m Debbie. I’m an engineer from Stanford. I have always been bothered by how few women were in my program, so I decided to do something about it.’

‘I’m starting a toy company called GoldieBlox to get little girls to love engineering as much as I do. ’

As a result, Sterling displayed credibility: her education from one of the best universities in the

world, and her passion to change the equation in the male-dominated field of engineering. Her ethos

ensured the audience that she is someone they can trust when it comes to STEM projects for girls.

Logos, or the appeal to logic, aims to appeal to an audience by use of logic or reason (“Ethos,

pathos and logos”, 2013). Here, Sterling cites facts:

‘Legos, K’Nex, Lincoln Logs… these toys develop spatial skills and get kids interested in engineering and science.’

’89 per cent of engineers are male, and yet 50 per cent of the population are female.’

To provide more logos, Sterling showed how the product works and cited benefits to children’s

verbal and spatial skills. She then showed, as evidence, a few video clips of young girls testing the

prototype toy and enjoying building.

Pathos, or the emotional appeal, aims to appeal to emotions. Speakers use pathos to invoke

sympathy from an audience, to make the audience feel what the speaker wants them to feel … or to

inspire anger from an audience, perhaps in order to prompt action (“Ethos, pathos and logos”, 2013).

Using pathos, Sterling appealed to parental guilt by saying that girls deserve more than what they

already have:

‘I want your little girl to play GoldieBlox because, as much as she loves dress-up and princess stuff … there’s so much more to her than that.’

‘ Any girl you know is so much more than a princess… She can explore every opportunity and become anything she wants to be when she grows up.’

‘If we want to live in a better world, we need girls building things, too… girls solving problems.’

Parents naturally want their children to thrive in a world of possibilities. Still capitalising on parental

emotions, Sterling prompted her audience into action:

‘Help me build GoldieBlox so that our girls can help build the future.’

Sterling also used enthymemes, another persuasive rhetorical device used since Aristotle’s time. In

an enthymeme the speaker is building an argument based on one or more unstated assumptions. In

the last quote, Sterling’s unstated assumptions are the following:

GoldieBlox should be funded so that it becomes available to girls.

GoldieBlox will teach basic STEM skills to girls and will get them to be interested in STEM fields.

If girls get interested in STEM, they will pursue careers in these fields, which are valuable in building industries of the future.

Effectiveness

The petition hit its goal of $150,000 in just five days. After a month, GoldieBlox raised $285,881 from

5519 backers. Production followed, raising the number of units from 5000 to 40,000.

The fact that GoldieBlox was overfunded by 191% was a huge success in crowd-funding, thus

attracting positive media attention, some of which are the following:

10.16.12 The GuardianUK Meet GoldieBlox: the toy designed to get girls interested in engineering

10.15.12 Forbes Beauty, Brains and Business: Engineering Girls for a Man's World

10.11.12 Forbes Inspiring Girls to Become Engineers: Meet GoldieBlox

9.25.12 VentureBeat Stanford engineer launches GoldieBlox, a toy to inspire young girls to be engineers

9.21.12 Huffington Post Can GoldieBlox, AKA Legos For Girls, Entice More Girls To Be Engineers?

9.20.12 Fast Company GoldieBlox: A Toy And Book Series Designed To Get Young Girls Interested In Engineering

9.19.12 Wired GoldieBlox Hits a Sweet Spot for Getting Girls Excited About Engineering

9.18.12 TechCrunch Hands-On With GoldieBlox, The Toy That Wants To Make Girls Fall In Love With Engineering

9.18.12 The Atlantic Can a Kids' Toy Bring More Women Into Engineering?

With the continued media hype, Sterling had been interviewed by several mass media outfits, and

GoldieBlox saw its campaign success translated into profits. In a Huffington Post interview (Dunn,

2013), Sterling revealed that the company received tens of thousands of pre-orders, bringing up to

$1 million in revenue in just a few months. In July 2013, GoldieBlox signed a nationwide distribution

deal with Toys R Us, the largest toy retailer in the US.

Princess Machine ad campaign

This video commercial was launched via YouTube in November 2013. In the ad, three girls who are

getting bored watching the usual princess show on TV leaped up and used their toys to create a Rube

Goldberg machine—an overly engineered series of contraptions performing simple tasks in an

indirect way—that created a chain reaction through at least two houses, in the end changing the TV

channel into one that says ‘GoldieBlox, toys for future engineers’. Girls, a Beastie Boys song, served as

the background music, but the children were singing a new version of the lyrics. Here are excerpts

from both versions:

Persuasive Techniques

Connecting to an audience via online channels is a tricky art. There is a vast amount of ‘noise’ the

sender has to overcome for the message to reach its intended receiver, in this case the web content.

In Shannon and Weaver’s Transmission Model of communication, ‘noise’ is any interference in

communication that affects the quality of the message. On YouTube alone, one hundred hours of

video are posted every minute (‘More than 1 billion unique users’, n.d.). Hence, a YouTube video has

to catch audience interest to cut through the noise.

Audience interest is garnered by carefully planning and utilising strategies of attention, one of

which is novelty (Rothwell, 2007), which GoldieBlox in the title:

GoldieBlox, Rube Goldberg & Beastie Boys ‘Princess Machine’ (a concert for girls)

Generally, a Rube Goldberg machine is in itself a novelty. A simple search of ‘Rube Goldberg’ on

YouTube will generate videos with millions of views. Add ‘Beastie Boys’—legendary hip hop band in

the US, and Rock and Roll Hall of Fame awardee—and you are sure to attract views. Moreover, the

band was a pop culture icon for the target audience: young parents, those in their 30s and 40s, and

who were once kids singing the band’s hits in the 1980s. The combination of ‘Beastie Boys’, ‘princess

machine’ and ‘Rube Goldberg’, terms that are generally not associated with one another, creates a

sense of outrageousness, of novelty – a search engine optimisation tactic – that invites clicks and

shares.

To sustain audience interest, novelty is again used, this time through parody in the content. A

parody is a rhetorical device that imitates the serious manner and characteristic features of a

particular literary work in order to make fun of the same features (“Literary and rhetorical devices”,

2008). The original lyrics of Girls are replete with sexist concepts, limiting girls to domestic duties. By

retooling the song as an anthem of girl power, GoldieBlox mocks the sexist message of the original.

The result was a message that resonates to the audience.

Which brings us to another persuasive technique in the ad: audience empowerment. Successful

campaigns from the past harnessed and empowered an audience; campaigners of the Black Power

movement in America in the 1960s understood how to use emotion and language to draw on the

pride of their constituency, and also how crucial a clear, emphatic and imaginative slogan was to gain

the commitment of blacks throughout America (Hatcher & McCarthy, 2002). GoldieBlox employed

this strategy through the following slogans:

‘Toys for future engineers.’

‘We are all more than princess maids.’

‘Don’t underestimate girls!’

Most parents of young girls naturally want their daughters to pursue high demand careers in the

future; empowering messages like these resonate to them.

Effectiveness

The ad was a viral success, earning widespread media attention and garnering more than eight

million views on YouTube in one week. According to Visible Measures, a company measuring video

content consumption of users, the ad’s true reach by the end of 2013 was 10,794,675 – making it to

the top five start-up campaigns of the year. It was featured on the TODAY Show and Good Morning

America, the highest-rating morning shows in the US. The ad was also tweeted by Chelsea Clinton,

Ellen de Generes and other influencers in social media.

Catching influencers’ attention is a critical in cutting through the noise of web content. They help

spread your message virally. Influences have the power to affect purchase decisions of others

because of their (real or perceived) authority, knowledge, position, or relationship (Business

Dictionary, n.d.). In the book The Tipping Point, Malcolm Gladwell (2000) called this the ‘Law of the

Few… where the success of any kind of social epidemic is heavily dependent on the involvement of

people with a particular and rare set of social gifts’. Gladwell referred to what the economists call the

‘80/20 Principle, which is the idea that in any situation roughly 80 percent of the “work” will be done

by 20 per cent of the participants’ (“Pareto principle,” 2014).

The ad’s title and message caught the attention of influencers, whose tweets and Facebook

reposts helped in spreading the word about GoldieBlox. Gladwell would easily categorise de Generes

as a ‘connector’, or someone ‘with a special gift for bringing the world together’ and ‘has social

networks of over one hundred people’ (Gladwell, 2000). So far, de Generes has 29.2 million Twitter

followers.

Aside from the contribution of influencers, I believe that the optimised title of the ad and the

ensuing controversy with the Beasties (which will be discussed in the next section) helped publicise

GoldieBlox’s message. A simple search on Google Trends shows that audience interest for GoldieBlox

peaked in November 2013, back when the ad title included ‘Beastie Boys’ in it, the same month when

influencers made a buzz of the company, and when the issue of copyright and trademark

infringements surfaced.

I doubt that the infringements were a mere oversight of a young entrepreneur. Before Sterling

founded GoldieBlox, she worked as a marketing director and a brand strategist – and would have

known that catchy titles, however misleading, get the clicks. On the other hand, I believe that the new

lyrics are a genuine expression of the company’s message, which opened the conversation on gender

roles, and sustained the interest of influencers and the public.

This sustained interest also played well for GoldieBlox. Despite the bad publicity that followed the

controversy with the Beasties, GoldieBlox still made it to the final four of Intuit’s first ‘Small Business

Big Game’ competition, announced late November. The prize was a 30-second Super Bowl

commercial, worth an estimated $4.5 million, according to Forbes. The competition initially received

a pool of 15,000 candidates. The final winner was selected through public voting in December, and

the people voted for GoldieBlox.

PR crisis: Legal battle with the Beasties

Upon learning of the ad in November, lawyers of the Beastie Boys ‘wrote GoldieBlox the usual cease-

and-desist letter, claiming copyright infringement and suggesting that the unauthorised use of the

Beastie’s intellectual property was a “big problem” that has a “very significant impact” on the band’

(Hunter, 2014). The Beasties also accused the toy company of trademark infringement for using the

name of the band to promote the ad.

When this news came out, GoldieBlox’s business ethics was questioned, affecting its public

relations. Let us see how GoldieBlox fared by the ‘textbook responses to PR disasters’ (Eunson,

2012):

1. Deal with it as soon as possible.

GoldieBlox immediately filed for a declaratory and injunctive relief in a California federal court,

asking the court to declare that no copyright infringement occurred and that the video qualifies as

‘fair use’ (Erickson, 2013). This was a logical move as the injunction ‘only seeks for an official

declaration of the matter’ (“Injunctive relief law”, n.d.), in this case, whether the fair use argument is

valid. It is like two students with opposing views, asking their teacher to weigh in the matter and

declare in class which side is more reasonable. However, many found GoldieBlox’s action

provocative, especially when the Beasties fired back with this open letter:

‘When we tried simply to ask how and why our song “Girls” had been used in your ad without our permission, YOU sued US.’

GoldieBlox did not clarify what their legal action was about. As a result, headlines went on to say the

company ‘sued’ the band:

11.22.13 SPIN Toy company sues Beastie Boys

11.22.13 Mercury News Oakland Toy startup GoldieBlox sues hip-hop group Beastie Boys

11.26.13 SPIN Columbia Journalism Review GoldieBlox picks unfair fight with the Beastie Boys.

2. Identify your stakeholders.

GoldieBlox ignored the haters and instead reached out to the primary stakeholder, the Beasties,

through an open letter. It was done so presumably to include in the conversation the other

stakeholder – the wider public, who are the consumers. Here is an excerpt:

‘We don’t want to fight with you. We love you and we are actually huge fans.

When we made our parody version of your song, ‘Girls’, we did it with the best of intentions. We wanted to transform it into a powerful anthem for girls…

…Our hearts sank last week when your lawyers called us with threats that we took very seriously. As a small company, we had no choice but to stand up for ourselves…

Since actions speak louder than words, we have already removed the song from our video…

We don’t want to spend our time fighting legal battles. We want to inspire the next generation. We want to be good role models. And we want to be your friends.’

Note, however, that the word ‘apology’ or ‘sorry’ was never mentioned. In a playful use of rhetoric,

GoldieBlox again attempted to appeal to pathos by making itself appear the underdog here: ‘your

lawyers called us with threats’; ‘we had… to stand up for ourselves’. And through the open letter,

GoldieBlox was able to reiterate in public the social cause of the parody.

3. Be upfront about what you do and do not know. Again, what GoldieBlox could have done was

clarify the facts of its legal action, but the company kept silent instead.

4. Be available. Aside from the open letter to the Beasties, GoldieBlox kept silent about the issue

and moved on with other aspects of their business.

5. Move on. The company rectified its error by replacing the Beastie song, and reiterated its brand

message through the letter to the band, saying:

‘We want to inspire the next generation. We want to be good role models.’

It appears that GoldieBlox did not have a clear PR strategy in handling this issue. It erred on caution

by not responding quickly enough and not clarifying the facts of the legal case. This PR crisis invited

some hostile media attention. Reuters journalist Felix Salmon (2013) commented that the company

was behaving ‘like Silicon Valley bullies’, and was ‘faux-naïveté at its worst, deliberately ignoring the

fact that Girls, the original song, is itself a parody of machismo rap.’ (I am less interested in the latter

argument since there is no strong evidence that the original song was indeed a parody itself.) This PR

crisis also spurred on criticisms on the product itself; Jezebel believes (Faircloth, 2014) GoldieBlox’s

marketing campaign was better than the product. As a result, poor reviews from customers poured

in on Amazon. Even old ones were republished, like this one in Mascola.com:

Even so, this had become a battle of messages, of girl power vs macho culture. Even if it were true

that the original Girls intended to mock machismo rap, the Beasties have already been cast in a

negative light because of the literal meaning of their song. Despite the PR crisis, I agree with TheLi.st

founder Rachel Sklar, who wrote ‘GoldieBlox has the decided PR edge— righteously proclaiming

themselves on the side of progress, equality, and a nation of adorable little girls. This leaves the

Beastie Boys as, sure, the artists who created the song — but also the artists who said that girls were

for making their beds, doing their laundry, and satisfying their urges.’

Hence, girl power won. The public voted for GoldieBlox to broadcast a commercial at the Super

Bowl 2014, ‘the most watched TV event in history with 111.5 million viewers tuned to the game. The

Super Bowl exposure opened another nationwide distribution deal for GoldieBlox, this time with the

retail giant Target. Today, GoldieBlox is also distributed in the UK, Ireland and Australia. In the battle

of messages, GoldieBlox emerged stronger.

In March this year, GoldieBlox settled the legal case with the Beasties, acquiring a backdated

license for use of the song in exchange of $1 million, to be paid to a charity of the band’s choice

supporting STEM for girls.

The power of narrative

In a saturated world of information, GoldieBlox stood out by consistently using the power of

narrative. The first rule of narrative marketing is to find the conversation, and GoldieBlox did just

that (Qudosi, 2013). In Sterling’s media appearances, she is consistently introduced as the Stanford-

trained engineer troubled by the small number of women in engineering and sciences, and the ‘pink

aisles’ in toy stores, and who challenged this phenomenon by designing a product that may lure

young girls into STEM. By pairing a market gap with a budding conversation, GoldieBlox found an

audience willing to turn down the noise and listen. There had been sound criticisms from experts

and the public as well, but GoldieBlox triumphed by making the issue a topic of mainstream

conversation.

Another concept is the use of narrative advertising. People are naturally drawn to narratives, and

advertisers know this. GoldieBlox did not show much about the product in its video ads, and instead

used plots: young girls sick of the princess culture, leaping up to create complex machines out of toys,

and—inspired by their cleverness—ends the story with a bold girl-empowering message. In a Johns

Hopkins analysis of 108 Super Bowl ads, researchers Keith Quesenberry and Michael Coolsen found

that people rated commercials with dramatic plotlines higher than ads without a clear plot. ‘People

think it's all about sex or humor or animals, but what we've found is that the underbelly of a great

commercial is whether it tells a story or not,’ Quesenberry said (Rosen, 2014). Therefore, regardless

of the content of the ad, the structure of that content predicted its success (Monarth, 2014).

Finally, GoldieBlox leveraged the power of narrative by becoming the narrative itself. After the

Super Bowl commercial, we realise an underdog story had just unfolded – a small business ‘rising up

to become the game-changing, status-quo challenging, industry… outlier that that fills our newsfeeds’

(Antonelli, 2014). A more interesting story may emerge—the one with less pink aisles and more

female engineers and scientists—and in that narrative, I’m hooked.

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