アメリカのファストフード店

 

The Wendy’s matcha latte is cold and refreshing.

You can’t get a matcha latte in a Wendy’s restaurant in the United States. But you can in Kyoto, Japan.

Which raises the question: Of all the places to stop for a drink in Kyoto, why pick a US-based fast food chain?

Fair question. When traveling outside the US, the majority of my meals are local specialties … here in Japan: sushi, yakitori, ramen, onigiri, tempura, gyoza, and, of course, egg salad sandwiches from 7-11 (that’s another story).

But I also like to stick my head into the franchises from home to see how the menus have been localized. Such as, here in Japan:

The shrimp nuggets or edamame & corn at McDonald’s … the Spam & Cheese Burger or Peanut Butter Royale Burger at Burger King … the Wa-fu Chicken Cutlet Sandwich or Pepper Mayo Twister at Kentucky Fried Chicken.

Maybe it’s the marketer in me. Maybe it’s a way of saying, “Toto, I don’t think we’re in Kansas anymore.”

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According to Google Translate, アメリカのファストフード店  is Japanese for "American fast food restaurant"

Why did the robot cross the road?

I stumbled across a video of a delivery robot stuck at a crosswalk. It wasn’t broken or confused. It was waiting for a human to press the WALK button.

It had already navigated sidewalks, avoided people, delivered a package like a polite little mule with Wi-Fi. But when it got to the road, it stopped and asked a human to press the button.

And the human got annoyed. Understandable. But was this the robot's fault? It didn’t fail, it just hit the edge of a system that was never built with it in mind. The short story: We keep building these eerily capable systems and then act surprised when they trip over something dumb we forgot to redesign.

So we keep getting frustrated because AI, or platforms, or whatever tool didn’t magically fix our workflow this week. “It doesn’t work.” “It feels off.” “It’s too robotic.”

Maybe.

Or maybe it’s our assumption that if you just add enough tools -- AI for writing, automation for outreach, analytics for everything -- you’ll eventually hit some kind of frictionless flow. But what you usually get is a faster version of a clunky system. We’re forcing new capabilities into old systems and acting surprised when it feels like wearing dress shoes to run a marathon

Consider this: If AI were actually native to how most people work, a lot of those workflows wouldn’t exist in their current form. Steps would disappear. Roles would shift. Some things we treat as essential would look unnecessary.

The robot getting stuck at the crosswalk isn’t the problem. It’s just pointing at one: We keep waiting for smarter technology, when what we actually need are systems that make sense for it.

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NOTE: The person's actual reaction/response to the robot will be the subject of another post.

Show, Don’t Tell

There’s a moment in every piece of marketing where the audience decides whether they believe you. And in that moment, nothing, and I mean nothing, beats demonstration.

Not flowery claims. Not “premium quality” fluff. Not enough adjectives to smother a thesaurus.

Demonstration is the creative equivalent of flipping on the lights and saying: “Watch this.”

The Heinz Lesson

Two bottles. Heinz vs. Generic. Two identical dollops on a plate. Fast-forward 3 minutes, 39 seconds.

The generic catsup sweats like it’s in a job interview. Heinz stays thick, proud, and fully composed.

The line: “Actual photograph of water running out of other catsup… One reason you may pay a little more for Heinz.”

No bragging. No begging. Just proof.

That’s demonstration: the kind of truth people can’t unsee.

Other Masters of the Reveal

Blendtec’s “Will It Blend?”

A guy in a lab coat obliterates iPhones, golf balls, and garden rakes. No features list needed, the blender turns absurdity into credibility.

Dyson vacuums

James Dyson didn’t say “better suction.” He dumped piles of debris on floors and showed every competitor leaving a mess. Demonstration in the universal language of dirt.

Apple product launches

Steve Jobs didn’t claim the iPod was small. He pulled it from his jeans pocket and nailed it with the line: “1,000 songs in your pocket." Boom. Demo. Story over.

Swiffer

Their infomercial-style wipe-on/wipe-off comparison made old mops look like medieval torture devices. One swipe = demonstration. Millions of sales.

 

Why Demonstration Works (and Why Writers Forget It)

Writers like telling. Telling is comfortable. But comfortable is not persuasive.

Demonstration forces the audience to participate in the discovery. They see it. They believe it. And belief they arrive at themselves is belief that sticks.

So instead of reaching for the adjective shelf, ask:

What can I show instead of say?

What moment proves the message?

What truth is compelling enough to leave unadorned?

Because the brands that win aren’t the loudest, they’re the clearest. They let the product do the talking, while the copy sets the stage for the sale of either the brand and/or the actual product.

Sometimes all you need is a plate, a dollop, and a little pool of water to say everything.

Music On or Music Off?

 

When people talk about productivity, someone eventually asks: "Do you listen to music while you work?"

The question tends to split the room into two tribes. The music people and the silence people.

The music people talk about it the way athletes talk about pre-game rituals. The perfect playlist. that supposedly turns your brain into a productivity engine.

I’ve tried it. I really have. But most of the time I prefer silence. Not the monastery kind of silence. Just ordinary quiet. The hum of the room. A keyboard clicking away. Maybe the faint sound of a truck going by outside. Just enough stillness for thoughts to stretch their legs without tripping over a drum solo.

Music, for me, tends to behave like a guest who doesn’t understand they’re supposed to be in the background. Especially if there are lyrics. The moment someone starts singing, my brain abandons the sentence I’m writing and runs after the words like a dog chasing a tennis ball. Now I’m halfway through a paragraph and mentally finishing someone else’s chorus.

This is why people who can write while blasting pop music strike me as mildly supernatural. I imagine their brains have some internal bouncer who politely escorts the lyrics away while they continue typing like nothing’s happening.

Mine doesn't have that feature.

Silence, on the other hand, is honest. It doesn’t try to hype you up or set a mood. It just sits there like an empty stage waiting for something to happen.

And when you’re writing, that’s usually what you need: space.

Occasionally, I’ll allow instrumental music … music that knows how to behave. No vocals. No dramatic attempts to steal the spotlight. Just a quiet layer of sound, like fog rolling through the background of a scene.

Even then, however, I keep it low. When I’m writing, music should feel like furniture, not a parade.

Recently, the  “music while working” conversation has been focused on optimization ... the magical combination of lo-fi beats and rain sounds engineered by algorithms that promise “maximum cognitive flow.” As if your brain were a coffee machine and all you needed was the right settings.

It’s a nice idea, but the reality is much less glamorous. A lot of writing involves sitting there, staring at a sentence that refuses to cooperate, and trying to nudge it into shape without making it worse. Silence helps with that. It keeps the room from getting crowded.

Music has its place … on walks, in the car, while cooking dinner. But when I’m trying to think, I’d rather not invite a band into the room. My brain already has enough noise in it.